Native American Music

Total Page:16

File Type:pdf, Size:1020Kb

Native American Music NATIVE AMERICAN MUSIC Anasazi palace near Mesa Verde, CO built c. 11th century Cherokee women photographed by Edward Curtis c. 1927 Hopewell Exchange System spreads cultural practices and material goods via eastern waterways c. 200- 500 BC American Indian Boarding Schools ★ 1879: Civil War vet Henry Pratt founds “Carlisle Industrial Indian School” in PA to assimilate native cultures. ★ Becomes basis for Indian Boarding Schools across country in 20th century. ★ “[We must] kill the Indian... to save the man” The Legacy of Indian Boarding Schools ★ Cultural genocide ★ Sexual Abuse ★ Depression ★ Rampant substance abuse ★ Poverty Ghost Dance ★ Wovoka, late 19th century prophet of Paiute people, leads new religious movement throughout plains ★ Dancing/singing Ghost Dance would prepare followers for afterlife. ★ Spreads amongst numerous tribes in plains region ★ Lakota ascribe militaristic visions to Ghost Dance ★ Ghost Dance movement dwindles after Wounded ★ Popularity of dance across plains brings federally Knee, but begins new precedent for inter-tribal enforced ban culture. ★ Tensions escalate, culminate in Wounded Knee Massacre of 1890 Inter-Tribal Culture / Pan-Indianism ★ Pow-Wow main secular inter-tribal event ★ ‘Pow-Wow’ historically an Algonquin designation but now pan-Indian in application. ★ Disputes regarding when/where first held, but likely in Oklahoma region Pow-Wow Music and Dance ★ Pow-Wow dance/song often descend from Great Plains regions ★ Frame Drum played by men ★ Gender of singing and dancing varies according to specific song/dance ★ Music, dance, gender, and regalia often coordinated for specific occasions/performance ★ Dancing often surrounds drummers/singers Gourd Dance ★ Simple dance characterized by slight flexing of the knees and bouncing on heels ★ Most inclusive dance of Pow-Wow culture ★ ‘Gourd’ refers to rattles - Oklahoma City Pow-Wow, 2011 - Grass Dance ★ Warrior dance of Northern Plains. ★ More active, traditionally danced by younger men proven in battle, but now some women join. ★ Frilled regalia evokes prairie grass ★ Sometimes danced competitively, incentivizing preservation via pride and cash prizes Fancy Dance ★ Faster dance in ornate feather regalia ★ Irregular drumming patterns ★ Likely invented during 20s- 30s when most trad. Native dancing outlawed ★ Likely influenced by ‘Wild West Shows’ as discussed in Ellis reading. Wild West Shows ● Re-enacted scenes of West for Eastern US audiences ● Employed natives to convey ‘authenticity ● Historically inaccurate ○ Whites glamorized ○ Natives stereotyped, caricatured, degraded ● Fancy Dance created as display of ‘exotic wild Top Left: Poster for Pawnee Bill’s Wild West Show savagery’ ○ wilder = more Top Right: Promotional poster re-enacting Custer’s Last ‘entertaining’ Stand Bottom Left: Chief Sitting Bull and Buffalo Bill, who ran the country’s most successful Wild West Show. Understanding Inter-Tribal Movement ● Assigned readings present two distinct perspectives on Inter-Tribal or Pan-Indian movement and Pow-Wow culture ● Written Assignment #1, issued at end of class, will ask you to respond to them. Tohono O’odham ★ ‘Desert People’ ★ Formerly called Papago ★ Second largest reservation in US ★ Lived in S. Arizona, N. Sonora, Mex. since pre- history Pre-contact music ★ Songs accompanied by rattles, Chelkona Dance Song basket-drums, and dancing via Spotify ★ Songs often perform ritual function ○ Chelkona dance summons rain ○ Songs for hunt: songs convince animals to consent to being killed ○ Songs for helping crops ★ Still performed for sacred functions and for educating youth of heritage Spanish Settlement ★ 1540, Spanish explore Arizona ★ 1687, Settlement in O’ odham lands begins with Father Eusabio Kino ★ San Xavier mission still stands in SW Tucson Missionary Era Music ★ Music encouraged attendance in missions, and conversion amongst natives ★ O’odham trained on violin for use in services ★ O’odham brought new instruments/skills into village for social music ★ Natives playing Spanish Music on Spanish Instruments Tohono O’odham dance bands traditionally consisted of Bass Drum Snare Drum Guitar Two Fiddles Early 19th Century: Early American Era ★ 19th century brings wave of Germans and Czech immigrants influential to music in region ★ Tohono O’odham adopt instrumental dance styles for social events ★ Natives playing German-Czech music on Spanish Instruments Tohono O’odham Fiddle Music ★ Demonstrates many idioms of old, continental European style. ★ Dance genres ○ Two-Step / Polka: in a meter of 2 ■ Guitar: low/hi low/hi Mazurkas in 3/4 ○ Mazurka: in a meter of 3 Libby Bird Song ■ Guitar: low/hi/hi low/hi/hi Mazurka ★ Techniques Two Steps in 2/4 Pinto Bean Two-Step ○ Twin Melody: Two instruments playing melodies moving in in parallel motion. Evolution into Waila/Chicken Scratch ★ Music education included in Boarding Schools ★ Marching bands introduce saxophone to O’odham ★ 1950s electric guitar, drumkit ★ Old repertoire with new instrumentation becomes known as Waila ○ Word descends from Spanish word ‘bailar’ = to dance The Joaquin Brothers play a Polka (16:38) Natives playing Spanish-German-Czech dances on American instruments. Growing influence of Norteño ★ Norteño - working class music of Mexico’s northern states ★ Modern Waila/Chicken Scratch bands now incorporate accordion ★ Natives playing Spanish- German-Czech dances on American instruments influenced by Mexican music O’odham Influences ● Pre-European Music Traditions ● Spanish music on Spanish instruments ● German-Czech music on Spanish instruments ● German-Czech music on American instruments ● German-Czech music on American, Mexican instruments Written Assignment #1 ● Before first section, ○ Write 1-2 paragraphs summarizing the differences in perspective between the two assigned readings. ■ What are their opinions of Inter-Tribal/Pan-Indian Pow- wows? ■ What do you think each author think about Waila music of the Tohono O’odham? Why? ○ Write 1-2 paragraphs identifying your own position - with whom do you agree? ○ Submit via TritonEd turnitin function before first section meeting.
Recommended publications
  • Pow Wow Program
    The Kathryn M. Buder Center for American Indian Studies promotes preparation of professionals to assume leadership positions in social services and governmental institutions dedicated to improving the lives of American Indians. Scholarships The Brown School has one of the largest social work financial aid programs in the country including scholarships, loans, and work-study programs. The Kathryn M. Buder Charitable Foundation offers full scholarships to American Indian/Alaska Native students who plan to practice social work in American Indian communities. These scholarships provide tuition, monthly stipends, professional development opportunities, and books for two years of full-time study. The Brown School’s Center for Social Development provides a Buder Doctoral Fellowship. This fellowship is awarded to an outstanding doctoral student with expressed interest in American Indian studies and social work. 2015 Pow Wow Agenda A Special Thank You! The Pow Wow Committee would like to take a moment to express our gratitude to 10:00 am Contest Registration Opens the people who helped make our Pow Wow a success. We appreciate their time, Vendor Booths Open donations, inancial assistance, and attention. 11:00 am Gourd Dancing Dean Edward F. Lawlor Kemper Art Museum 12:00 ‐ 4:00 pm Grand Entry Angela Gilbreath Metro St. Louis American Indian Student Association Music Department Flag Song Art History & Archeology Performing Arts Department Veteran Song Department Kathryn M. Buder Charitable Victory Song (Post Colors) Biology Department Foundation Center for Diversity Inclusion Faculty, Staff, and Students of the Invocation Center for Humanities Brown School Introductions Diversity Awareness Partnership Washington University in St. Louis East Asian Languages & Cultures St.
    [Show full text]
  • American Indian Music: Even More Than Drums and Flutes a Guide to American Indian Music
    American Indian Music: Even More Than Drums and Flutes A Guide to American Indian Music Prepared for the Montana Office of Public Instruction By Scott S. Prinzing, M.Ed. MusEco Media and Education Project www.MusEco.org www.EvenMore.tv Published Winter 2009 Revised January 2015 Introduction 3 Traditional American Indian Music 4 Issues to Consider for Music Educators 4 Development of American Indian Music 5 Traditional Music 5‐6 Developments by Genre 7‐12 Contemporary American Indian Music Web Resource List 13‐14 Contemporary Popular Musicians with Indian Ancestry 15 American Indian Musicians in Montana 16‐19 Montana Indian Music Hall of Fame 20 Native American Music Awards 21 American Indian Music and General Web Resources 22 Select Bibliography 23 Acknowledgments 22 About the Author 22 Appendix 25 Lesson Plan 1 25‐27 Lesson Plan 2 28‐30 Introduction The goal of American Indian Music: Even More Than Drums and Flutes is to assist Montana teachers in incorporating an appreciation for Indian music into school music and social studies curricula to meet Indian Education for All criteria. There is often confusion regarding terminology related to the study of the history and culture of the indigenous people of the North American continent. For the purposes of this handbook, the term “Native American” refers to the original human inhabitants (and their descendants) of this continent at the time of first recorded European contact (1492), including the contiguous United States, Alaska, Hawaii, Canada, Central America, and the Caribbean Islands. The term “American Indian” (or “Indian”) will refer primarily to the original inhabitants of the contiguous United States.
    [Show full text]
  • June 2011 Tribal Newsletter Single Pages.Indd
    JUNE 2011 In this issue : 2011 Pow Wow Schedule Chairman’s Corner 2 Pow-Wow Gate Hours: Veteran’s song June 17 – 23, 2011 8:00am to 10:00pm Closing song for the evening Departmental News 3 June 24 – July 11, 2011 Open 24 /7 AFTER HOURS Tornado Response 3 Camper Registration – Conference Room Registration for all stomp dance leaders and shell shakers June 30th and July 1st, 2011 8:00am-4:30pm Stomp dance contest Research Project 4 July 2nd , 2011 at 8:00am SUNDAY- JULY 3RD, 2011 Miami School Event 4 FRIDAY - JULY 1, 2011 7:00 am Pow-Wow ground morning fl ag rising 7:00 am Pow-Wow ground morning fl ag rising At or around 9:00 am Registered Camper Rations. Contact Info 4 2:00 - 5:00 pm Gourd dancing and specials EVENING ACTIVITIES 5:00 - 6:00 pm Break for supper Campaign Letters 5-8 6:30 pm Dancers registration to be opened 7:00 pm Gourd Dance EVENING ACTIVITIES College Countdown 8 8:00 pm Opening Prayers 7:00 pm Gourd dancing and specials 8:15 pm Grand Entry and Registration closed 8:15 pm Grand entry New TAG Hours 9 Flag Song Opening prayer and fl ag song Quapaw Memorial Song Round dancing Business Committee 6-14 Round Dance Introduction of head staff and princess Minutes Welcome by the Tribal Business Inter-tribal Committee Chairman Notice of Candidacy 11 Introduction of Head Staff CONTEST TO BE HELD TONIGHT: Introduction of Tribal Princess Golden age women combined (55 +) Goodeagle Lawsuit 14 Crowning of 2011 Pow-Wow Princess Golden age men combined (55+) Inter-Tribal Dancing Teen jingle 13 – 19 Am I Covered? 14 Teen grass 13 – 19 CONTEST TO BE HELD TONIGHT: Teen traditional 13 – 19 Grand Lake Study 15 Tiny tots contest Women’s jingle 20 – 54 Jr.
    [Show full text]
  • Native American Music
    NATIVE AMERICAN MUSIC Anasazi ‘palace’ near Mesa Verde, CO built c. 11th century Cherokee women photographed by Edward Curtis c. 1927 Hopewell Exchange System spreads cultural practices and material goods via eastern waterways c. 200- 500 BC American Indian Boarding Schools ★ 1879: Civil War vet Henry Pratt founds “Carlisle Industrial Indian School” in PA to assimilate native cultures. ★ Becomes basis for Indian Boarding Schools across country in 20th century. ★ “[We must] kill the Indian... to save the man” The Legacy of Indian Boarding Schools ★ Cultural genocide ★ Sexual Abuse ★ Depression ★ Rampant substance abuse ★ Poverty Ghost Dance ★ Wovoka, late 19th century prophet of Paiute people, leads new religious movement throughout plains ★ Dancing/singing Ghost Dance would prepare followers for afterlife. ★ Spreads amongst numerous tribes in plains region ★ Souix ascribe militaristic visions to Ghost Dance ★ Ghost Dance movement dwindles after Wounded ★ Popularity of dance across plains brings federally Knee, but begins new precedent for inter-tribal enforced ban culture. ★ Tensions escalate, culminate in Wounded Knee Massacre of 1890 Inter-Tribal Culture / Pan-Indianism ★ Pow-Wow main secular inter-tribal event ★ ‘Pow-Wow’ historically an Algonquin designation but now pan-Indian in application. ★ Disputes regarding when/where first held, but likely in Oklahoma region Pow-Wow Music and Dance ★ Pow-Wow dance/song often descend from Great Plains regions ★ Drumming by Men ★ Gender of singing and dancing varies according to specific song/dance ★ Music, dance, gender, and regalia often specifically grouped together ★ Dancing often surrounds drummers/singers Gourd Dance ★ Simple dance characterized by slight flexing of the knees and bouncing on heels ★ More inclusive dance ★ ‘Gourd’ refers to rattles - Oklahoma City Pow-Wow, 2011 - Grass Dance ★ Warrior dance of Northern Plains.
    [Show full text]
  • University of Oklahoma Libraries Western History Collections Indians
    University of Oklahoma Libraries Western History Collections Indians for Indians Collection Indians for Indians was a radio program that aired on WNAD, the University of Oklahoma’s radio station. The program began in April 1941, and aired from 1:00pm to 1:30pm on Tuesdays. It was a 30-minute broadcast until 1951, when it expanded to a full hour. The program presented Oklahoma Indian music, the latest Indian news, and announcements about local events including powwows. Indians for Indians was created by Sac and Fox chief, Don Whistler, who served as emcee from 1941 to 1951. The Indians for Indians Collection contains 125 reel-to-reel tapes, all recorded from the 1940s through the 1970s. The collection records over 100 hours of original Indian music by individuals and groups from many different tribes. Whistler invited selected tribal members to Norman and recorded their live performances. These broadcasts contain ceremonial, social, and religious songs and music of Apache, Comanche, Cheyenne, Arapaho, Kiowa, Creek, Seminole, Sac and Fox, Shawnee, Caddo, Pawnee, Osage, Ponca, Otoe, Iowa, Wichita, Sioux, Hopi, Cherokee Indians and other tribes. The programs were originally recorded on discs with some later re- recorded on reel-to-reel tapes. Each tape contains recordings of several broadcasts and some may contain only the performance portions of a program. ****************************************************************************** The earliest Indians for Indians original discs (1943-1950) were given to the Library of Congress for permanent preservation in 1987. They are located at the American Folklife Center of the Library of Congress. This is the citation for their IFI Collection: Title: Indians for Indians Hour Collection Description: One hundred twenty-one discs of the radio program, "Indians for Indians Hour," hosted by Don Whistler.
    [Show full text]
  • Resource Guide for Educators and Students Grades 4–12
    Resource Guide for Educators and Students Grades 4–12 What is traditional music? It’s music that's passed on from one person to another, music that arises from one or more cultures, from their history and geography. It's music that can tell a story or evoke emotions ranging from celebratory joy to quiet reflection. Traditional music is usually played live in community settings such as dances, people's houses and small halls. In each 30-minute episode of Carry On™, musical explorer and TikTok sensation Hal Walker interviews a musician who plays traditional music. Episodes air live, allowing students to pose questions. Programs are then archived so you can listen to them any time from your classroom or home. Visit Carry On's YouTube channel for live shows and archived episodes. Episode 2, Jake Kouwe Jake Kouwe is an accordion player in the Cleveland, Ohio area. He leads the Chardon Polka Band, a group he founded in 2003 with the help of four high school friends. Jake got his start at age 14 when he saw Weird Al Yankovic on TV playing the "Accordion Boogie," an old rock 'n roll song from the 1950s. Jake's parents got him a thrift-store accordion and he fell in love with the instrument and with polka music. Polka music and dance originated in a central European region known as Bohemia, located in modern-day Czechoslovakia. The story of polka—fact or legend, depending on who you ask!—is that around 1830 a young peasant girl invented new dance steps to a lively tune.
    [Show full text]
  • Kiowa Powwows: Tribal Identity Through the Continuity of the Gourd Dance
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Research: A Journal of Natural and Social Sciences Great Plains Studies, Center for August 1994 Kiowa Powwows: Tribal Identity Through the Continuity of the Gourd Dance Benjamin R. Kracht Northeastern State University, Tahlequah, OK Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsresearch Part of the Other International and Area Studies Commons Kracht, Benjamin R., "Kiowa Powwows: Tribal Identity Through the Continuity of the Gourd Dance" (1994). Great Plains Research: A Journal of Natural and Social Sciences. 234. https://digitalcommons.unl.edu/greatplainsresearch/234 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Research: A Journal of Natural and Social Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Great Plains Research 4 (August 1994) 257-269 © Copyright by the Center for Great Plains Studies KIOWA POWWOWS: TRIBAL IDENTITY THROUGH THE CONTINUITY OF THE GOURD DANCE Benjamin R. Kracht Geography/Sociology Northeastern State University Tahlequah, OK 74464 Abstract. Today, intertribalparticipants at Southern Plains powwows (Okla­ homa and Texas) celebrate common history and culture-their sense of "Indianness"-through the enactment of ceremonial song and dance. The Kiowa playa central and assertive role in the Southern Plains powwow network. and they use the Gourd Dance as the vehicle to identify their "Kiowaness." The thesis ofthis paper is that the Kiowa continue to maintain their tribal identity through performances of the Gourd Dance.
    [Show full text]
  • Finding a Place for Cacega Ayuwipi Within the Structure of American Indian Music And
    Finding a Place for Cacega Ayuwipi within the Structure of American Indian Music and Dance Traditions by Adam Eric Berkowitz A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2015 Copyright © 2015 by Adam Eric Berkowitz ii Acknowledgements The author would like to take this opportunity to recognize the efforts of all those who were involved in this project. Dr. James E. Cunningham introduced the author to this topic of research and has been the author’s most prominent advocate for the duration of the study. Appreciation is also due to the other committee members, Aaron Kula and Dr. Ken Keaton, for their time dedicated to the project. In addition Aaron Kula and Dr. Cliff Sutton were heavily involved in the attempted performance of Cacega Ayuwipi, and the author is grateful for their efforts. The author is also thankful for Louis A. Ballard’s involvement without whom this project would not have been possible. In addition, the author would like to thank all of those who took the time to interview with him. Louis A. Ballard, Charles C. Ballard, Edward Wapp, Michael Udow, William Dunning, and Lydia Talache have provided valuable information which brought new insight to the life of Louis W. Ballard and the performance of Cacega Ayuwipi. The author would like to thank Dr. Sandra McClain for being his advisor, mentor, and one of his strongest supporters throughout his studies at Florida Atlantic University.
    [Show full text]
  • Saint Kateri Tekakwitha HONOR DANCE Saint Kateri Tekakwitha the Catholic Foundation of Oklahoma HONOR DANCE Celebrates St
    Saint Kateri Tekakwitha HONOR DANCE Saint Kateri Tekakwitha The Catholic Foundation of Oklahoma HONOR DANCE Celebrates St. Kateri! July 6 Saint John Nepomuk You can leave a legacy of faith for future generations Catholic Church with a permanent endowment for a parish, school Yukon or other ministry through the Catholic Foundation of Oklahoma. Call (405) 721-4115, or go online to www.cfook.org SCHEDULE for more information. Mass: Noon Gourd Dance: 2 p.m. - 4:30 p.m. Princess crowning: 4:30 p.m. The Catholic Foundation of Oklahoma Supper break: 5 p.m. - 6 p.m. 7501 Northwest Expressway Grand Entry: 6 p.m. Oklahoma City, OK 73132 Relic veneration: 1 p.m. - 9 p.m. (405) 721-4115 www.cfook.org St. Kateri Tekakwitha Welcome HONOR DANCE Dear Brothers and Sisters in HEAD STAFF Christ, Emcee: Cy Ahtone Head Singer/Drum: Leonard Cozad Jr. Welcome to the Saint Kateri Head Gourd Dancer: Michael Tsotaddle Tekakwitha Honor Dance! It is Head Man Dancer: John Big Horse with great joy that we celebrate Head Lady Dancer: Krystal Caesar the life and witness of this tru- Color Guard: Kiowa Women’s Color Guard ly American saint. Arena Director: T. Kerchi/T-Bone God has blessed the Church in Oklahoma with this oppor- CONTEST DIVISIONS tunity to share our faith and Tiny Tots diverse culture with the entire Sponsored by Ronald and Judith Hawes and community. The Law Offices of Pamela Kennedy Despite illness and hardship in her youth, Kateri felt Teen girls combined the call to conversion and missionary discipleship that Sponsored by the Schonchin Family has been an inspiration to native cultures in North America and for many others over the past 300 years.
    [Show full text]
  • Traditional Styles of Music in Southern Arizona, and Some Can Be Heard in Few Other Places
    MUSIC There are several traditional styles of music in southern Arizona, and some can be heard in few other places. These are the sounds of the U.S.-Mexico borderlands and the American Southwest, and they are played on local radio stations, at annual festivals, at family celebrations, and in backyards. They celebrate the Native American, Mexican, and American heritages of the people who live here, and remind visitors that they are definitely not in “anywhere U.S.A.” This regional music is unique because it is grounded in local history and the mixing of cultures that has taken The annual Tucson International Mariachi Conference and Fiesta de Garibaldi bring together local artists with stars from Mexico and around the world. place in Tucson and the Santa Cruz Valley. Many of the styles Convention Bureau. & Visitors Tucson courtesy of Metropolitan Photo draw on each other for inspiration and instrumentation. Each listing below provides information about the traditional styles of music that can be experienced in our region, and related annual events that highlight that particular music style. (Details on the annual events included in this list can be found in the Discover Tucson’s Heritage Events listings.) If there are specialty stores that sell CDs of local musicians playing local music, they are also included. The Internet provides multiple opportunities for interested individuals to experience sound and video recordings of performances online and to purchase digital music. Two sites deserve mention in particular: 1) Music of the Southwest Web Site – http://parentseyes.arizona.edu/msw Compiled and maintained by the University of Arizona’s Learning Technologies Center, users gain access to extensive overviews of our local music styles, as well as audio and video archived recordings of local legends’ performances.
    [Show full text]
  • Toward the Origins of Peyote Beadwork
    TOWARD THE ORIGINS OF PEYOTE BEADWORK A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Gerald R. Hubbell B.Sc., California State University, Sacramento, 1979 Kansas City, Missouri 2018 ©2018 GERALD R. HUBBELL ALL RIGHTS RESERVED THE ORIGIN OF PEYOTE BEADWORK Gerald R. Hubbell, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2018 ABSTRACT Peyote beadwork is a nuanced and elegant art form. Hundreds of thousands of people today use peyote beadwork, including the Native American Church, powwow people, gourd dancers and Native Americans wanting a marker of Native Identity. Mainstream society has relegated this art form to the status of craft. It is virtually unstudied in the academic world. This paper accepts that objects so decorated are art, that is, expressions that are a means of communication among humans, and both a sacred art as well as a means of establishing cultural identity. The lack of academic study has led to hypotheses about its origin that obscure rather than reveal how it began. This paper aims to describe when and by whom the beadwork began, as well as how it was first disseminated. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Sciences, have examined a thesis titled “The Origin of Peyote Beadwork,” presented by Gerald Hubbell, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance. Supervisory Committee Maude Southwell Wahlman, Ph.D., Committee Chair Dorothy and Dale Thompson Endowed Professor of Global Arts, Professor of Art and Art History, Department of Art History, UMKC Robert Prue, Ph.D.
    [Show full text]
  • 2018 Pow Wow Program.Pub
    The Buder Center for American Indian Studies is a premier graduate program in Social Work. We are committed to preparing and supporting future American Indian leaders to practice in tribal and urban settings, making signiicant contributions to health, wellness, and the sustained future of Indian Country. 2018 Pow Wow Agenda A Special Thank You! The Pow Wow Committee would like to take a moment to express our gratitude to 10:00 am Doors Open the people who helped make our Pow Wow a success. We appreciate their time, donations, inancial assistance, and attention. Contest Registration Open 11:00 am Gourd Dancing American Indian Student Performing Arts Department Association Women, Gender, & Sexuality Studies 12:00 ‐ 4:00 pm Grand Entry Flag Song Art History and Archeology Department Department Veteran Song Kathryn M. Buder Charitable Center for Humanities Foundation Victory Song (Post Colors) Jewish, Islamic, Near Eastern Faculty, Staff, and Students of the Invocation Languages & Cultures Department Brown School Introductions East Asian Languages and Cultures Washington University in St. Louis Intertribal Dancing Program St. Louis Community Competition Dancing – Mechanical Engineering St. Louis American Indian Youth, Teen & Golden Age Categories Department Community 4:00 pm Dinner Break The Pow Wow Committee would like to thank those who donated to our 5:00 pm Gourd Dancing Annual Trivia Night’s Silent Auction: 6:00 ‐ 10:00 pm Grand Entry Beverly Bledsoe Repertory Theatre Flag Song Big Shark Bicycle Company River City Rascals Veteran Song Caroline Caligiuri Rockin Jump Victory Song (Post Colors) Float STL Schlaly The St. Louis Brewery Invocation Gateway Arch Shell Gateway Grizzlies St.
    [Show full text]