Restoring Harmony Powwow 2011 Booklet
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Ponca Tribe of Oklahoma
VOLUME 2, ISSUE 9 JULY 2016 JULY Funded & Distributed by the Ponca Tribe NEWSLETTER PONCA TRIBE OF OKLAHOMA Special points of interest: GED CLASSES SUMMER YOUTH CHR UPDATES DIALYSIS CENTER Inside this issue: PONCA TRIBE INJURY PREVENTION 1 U.S. DEPT. OF INTERIOR 2 PICTURE OF MAP 3 VETERANS MEMORIAL 4-5 PONCA CELEBRATION FLYER 6 WEHC CHR 7 PONCA TRIBAL PRINCESS 8-9 AMERICAN INDIAN EXPOSITION 10-11 SCHOOL SUPPLIES 12 YOUTH OUTREACH 13 AG DEPARTMENT 14 DIALYSIS CENTER 15 SENIOR CENTER 16 DIRECTORS MEETING 17 BEHAVIORAL HEALTH 18-19 WHITE EAGLE TRANSIT 20 PONCA TRIBAL AFFAIRS 21 GED CLASSES 21 SUMMER YOUTH ACTIVITES 22-23 ANNOUNCEMENT 24 BIA PRESENTATION 25 PONCA TRIBE HEAD START PONCA POWWOW ADS 26 AMERICAN INDIAN EXPOSITION 27 ZUMBA CLASSES 28 DIABETES HEALTH FLYER 29 PONCA TRIBE FDPIR 30 NEWSLETTER FORM 31 PONCA CUSTOM T’S 32 Page 2 JULY NEWSLETTER VOLUME 2, ISSUE 9 Page 3 WILL BE TRANSPORTING FREE RIDE TO NATIONAL NATIVE AMERICAN VETERANS MEMORIAL EVENT. THEY ARE SEEK- ING NATIVE AMERICAN VETERANS TO ATTEND FOR INPUT ON THE DESIGN FOR THE MEMORIAL WALL IN WASHINGTON, D.C. (10 SEATS ARE LIMITED) LOCATION: JULY 19TH TUESDAY 2016 DEPARTURE WILL BE FROM TRIBAL AFFAIRS @ 10:00 AM RETURN BY 4:30 PM CALL TRANSIT 580-763-0139 RESERVE SEATING WILL BE TRANSPORTING FREE RIDE TO NATIONAL NATIVE AMERICAN VETERANS MEMORIAL EVENT. THEY ARE SEEK- ING NATIVE AMERICAN VETERANS TO ATTEND FOR INPUT ON THE DESIGN FOR THE MEMORIAL WALL IN WASHINGTON, D.C. (10 SEATS ARE LIMITED) LOCATION: JULY 21ST, THURSDAY 2016 DEPARTURE WILL BE FROM TRIBAL AFFAIRS @ -
2020 Dixie Fellowship Guidelines Section SR-5, Order of the Arrow
2020 Dixie Fellowship Guidelines Section SR-5, Order of the Arrow Revised 1/15/2020 Section Officers Hunter Hackett Robert Bolton William Webb Section Chief Section Vice Chief Section Secretary Coordinators Joshua Kirchner Service Lodge Coordinator Chandler Hackett Zach Kontenakos Special Events Coordinator Administration Coordinator Tommy Kepley Alex Barton Shows Coordinator American Indian Events Coordinator Patrick Bailey Shea Lighton OA High Adventure Program Coordinator Trent Kokay Blake Parker Section Promotions Training Coordinator Cole Taylor Josh Morrow Associate Coordinator Ceremony Events Coordinator Letter from the Chief Dear Key Three members: We wish for the Dixie Fellowship to continue to be the best conclave in America as it celebrates its 68th anniversary. Due to the great amount of time and energy it has taken to prepare this document, we ask that you review it very carefully. This information will also be available online at www.sr5.org. Once again, thank you so much for everything you do to serve your lodge and thus make our Section stronger. I look forward to serving with all of you in the year ahead to prepare for the best Dixie Fellowship yet! In Service and Brotherhood, Hunter Hackett | SR-5 Section Chief Robert Bolton, Jr. | SR-5 Section Vice Chief William Webb | SR-5 Section Secretary 2020 Dixie Fellowship SR-5 Section Conclave April 24-26, 2020 Atta Kulla Kulla Lodge 185 Blue Ridge Council Camp Old Indian Guidelines Contents Contents…………………………………………… 5 SR-5 Officers and Advisers………………………. 8 Dixie Rotation Schedule…………………………. 9 Dixie Deadlines/Calendar………………………. 10 I.Serivce Lodge…………………………………… 11 A. Code of Conduct B. General Information C. -
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. -
Crow and Cheyenne Women| Some Differences in Their Roles As Related to Tribal History
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1969 Crow and Cheyenne women| Some differences in their roles as related to tribal history Carole Ann Clark The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Clark, Carole Ann, "Crow and Cheyenne women| Some differences in their roles as related to tribal history" (1969). Graduate Student Theses, Dissertations, & Professional Papers. 1946. https://scholarworks.umt.edu/etd/1946 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 THIS IS AN UNPUBLISHED MANUSCRIPT IN WHICH COPYRIGHT SUB SISTS. ANY FURTHER REPRINTING OF ITS CONTENTS MUST BE APPROVED BY THE AUTHOR. IVIANSFIELD LIBRARY UNIVERSITY OF MONTANA DATE : U-- - ~ CROW AND CHEYENNE WOMEN r SOME DIFFERENCES IN THEIR ROLES AS RELATED TO TRIBAL HISTORY by Carole Ann Clark B.A., University of Montana, 1?66 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1969 Approved by Chairman, Board of iicaminers L, 'Graduate 'School UMI Number: EP35023 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
Your Guide to Understanding and Enjoying Powvwows
Indian Education for All Your Guide to Understanding and Enjoying Pow Wows Thanks to: Murton McCluskey, Ed.D. Revised January 2009 TABLE OF CONTENTS Introduction ...................................................................... 1 History of the Pow Wow ............................................... 2-3 The Pow Wow Committee ............................................ 4 Head Staff ............................................................. 4 Judges and Scoring................................................ 4-6 Contest Rules and Regulations ................................... 7 Singers..................................................................... 7 Dancers................................................................... 8 The Grand Entry................................................... 8 Pow Wow Participants.......................................... 9 The Announcer(s) ................................................ 9 Arena Director....................................................... 9 Head Dancers......................................................... 9 The Drum, Songs and Singers..................................... 10 The Drum...............................................................10 Singing..................................................................... 10-11 The Flag Song........................................................ 12 The Honor Song.................................................... 12 The Trick Song.......................................................12 Dances and Dancers....................................................... -
North American Indians: an Annotated Resource Guide for the Elementary Teacher
DOCUMENT RESUME ED 085 156 RC 007 505 AUTHOR Anderson, Sue Ellen, Comp.; And Others TITLE North American Indians: An Annotated Resource Guide for the Elementary Teacher. INSTITUTION Arizona State Univ., Tempe. Indian Education Center. PUB DATE 72 NOTE 119p. AVAILABLE FROMCenter for Indian Education, Farmer College of Education, Arizona State University, Tempe, Arizona 85281 ($2.00) EDRS PRICE MF-$0.65 HC-$6.58 DESCRIPTORS *American Indians; *Annotated Bibliographies; Art Activities; Childrens Books; *Culture; *Elementary School Teachers; History; Languages; Music; Poetry; Reservations (Indian) ; *Resource Materials; Tribes ABSTRACT The annotated bibliography for elementary teachers contains approximately 600 listings of resources about American .Indians. The resources, which range from 1926-1972 (some are not dated), include materials prepared by Indians and non-Indians for Indian and/or non-Indian children. Sections in the bibliography are: Books for Children -- Indians of North America; Books for Children -- Indians of Arizona; Teacher Resource Books (art activities, poetry, and songs); Films; Filmstrips; Slides; Periodicals; and Records. Slides are listed by subject area. Other sources for materials are also given. (KM) U 1 OE PAIIMAtle OF HEWN 11"% EDUCATION& WELPAlte NAtiONAL INStitUtt OF tDUCAtION tin( ..Aklet F.,At Pitt'. eler 0, A, At(I ()r4 V '..t pr10,0N nu Omni...JA' WOu A. PP FA nitnp404, f 00 NONI (r , lir Pkir 4, Orr A, 4A. .04A. .r re A..04 Pro, no no, r NORTH AMERICAN INDIANS An Annotated Resource Guide for the ELEMENTARY TEACHER I I fin " fit FILMED FROM BEST AVAILABLE COPY CENTER FOR INDIAN EDUCATION College of EdOcotion Arizorio State University.: Tempe,,.monoJ COMPILED AND EDITED BY Sue Ellen Anderson Teacher, Phiteriver Elementary School Whiteriver, Arizona Vicki C. -
Drum and Dance Curriculum for Elementary Culture Class 2012-2013
Drum and Dance Curriculum for Elementary Culture Class 2012-2013 Pow Wows are special events where American Indian people get together and dance. By dancing, people celebrate their culture and their heritage. Many people, American Indians and non-natives, come to watch the dancers, listen to the songs, and meet old friends and make new friends. Everyone, dancers and spectators, are a part of the celebration. (taken from Ni Mi Win : A History of Ojibwe Dance ) Through the following lessons students will learn about every facet of our contemporary Pow Wow and how it connects with our history and culture as American Indian people. The Drum - Lesson #1 The drum symbolizes the heart beat of our people. All drums are honored and respected. We will discuss the different types of drum and their uses. Learner Outcomes: After participating in teacher-led discussions and activities, the students will be able to: 1. Identify the different types of drums and match them to their uses. 2. Discuss the different kinds of songs and their purposes. Tribal Value: Respect Student Activities: CD of different songs and explanation, student drum packets and hands-on materials. The Dancers - Lesson #2 - Traditional Women & Traditional Men The tribal past is strongly reflected in the dance regalia of the present day dancers. Through dance past becomes present and present becomes past. Learner Outcomes: After participating in teacher-led discussions and activities, the student will be able to: 1. Identify and discuss the Women’s Traditional dance, regalia, its history and present day application. 2. Identify and discuss the Men’s Traditional dance, regalia, its history and present day application. -
The Lakota Sun Dance: a Composite View and Analysis
Copyright © 1976 by the South Dakota State Historical Society. All Rights Reserved. The Lakota Sun Dance: A Composite View and Analysis MICHAEL E.N4EL0DY The Lakota Sun Dance is the archetypal expression of western Sioux religious belief. In a sense, the dance is the public, ritualized manifestation of an understanding of reality that was shared among the group as a whole. In the context of a cosmological society, the dance represents the people's participation in the life of the cosmos itself. In this, the Sun Dance is similar to the rituals of other cosmological societies such as the Mesopotamian New Year's Festival.' The literature on the old form of the Sun Dance varies greatly in quality. Surprisingly, there are only four major accounts of the ritual. Anthropologists seem to have been preoccupied by questions regarding diffusion. There are, however, a plethora of short articles that typically record eyewitness experiences. Besides these works there are only derivative narratives, usually based upon the work of only one of the major commentators.^ 1. This article is based upon my dissertation, "The Sacred Hoop: The Way of the Chiiicahua Apache and Teton Lakota" (Ph.D. diss.. University of Notre Dame, 1976). Much of the information in this article was acquired on a research grant provided by the dean of the College of Aits and Letters, Professor Frederick Crosson, and the chairman of the Department of Government, George Brinkley. The cosmos is a whole in that the gods are included within its bounds, there is no concept of transcendence; see Henri Frankfort, et al. -
Northern Style Powwow Music: Musical Features and Meanings Anna Hoefnagels
Northern Style Powwow Music: Musical Features and Meanings Anna Hoefnagels Abstract: Modern powwows are important social rituals closely linked to expressing affirmations of Native identities. Based on her fieldwork in southwestern Ontario and Southern Alberta, Anna Hoefnagels explores methods of classifying powwow music that may serve as pedagogical tools, and ways of teaching and understanding Northern- style powwow music._____________________________________________________________________________ Music is the central feature of contemporary powwows, around which other activities—including dancing, socializing, and shopping—revolve. Physically, the musicians and their drums, called drum groups or Drums, are at the centre of the powwow, with a series of concentric circles emanating from the Drums in the form of dance area, audience, vendors and the camping area. The Drums provide the music that accompanies the dancers, which is the central and most spectacular aspect of the powwow. Powwow songs have common features with one another; yet when one listens closely to these songs, one realizes that the songs are quite distinct from one another. There are regional differences in powwow singing, due to the geographical and tribal origins of both the songs and the musicians. However, to the uninitiated, powwow songs may all sound the same. Fortunately, as Tara Browner (2000) indicates, “pow-wow music exists in a Pan-tribal (as opposed to tribal-specific) context, [so] the vocabulary its musicians use when talking about song making and performance is almost entirely in English...” (p. 215). Despite potential political conflicts regarding language and terminology, this shared vocabulary makes conversations with musicians about their music much easier than they would be if there were different or specific descriptive vocabulary. -
Grade 4 LIVE Arts with Terrance Littletent: Aboriginal Dance
Strand: Dance Level: Grade 4 Content: 45 minute broadcast + Grade 4 LIVE Arts with Terrance hands-on activity Littletent: Aboriginal Dance Terrance Littletent, Grass Dancer and world renowned Hoop Dancer, will lead students through Grass Dance steps and movements. Terrance will engage students through storytelling, demonstrations, and student practice. Students will learn about the evolution of Grass Dancing from historical to contemporary, and gain skill and knowledge in basic traditional and contemporary Grass Dance steps and movements. Both girls and boys will be encouraged to personalize their movements as every Pow Wow Dancer does. The main objectives are to learn timing and rhythm, how to move with the beat of the drum, and how to showcase space and symmetry with the body. Students with previous experience in Aboriginal Dance may choose to focus on their style of choice, such as jingle dress style or fancy dance style. Terrance's Hoop Dancing will also be showcased with a performance! As a dancer from Saskatchewan, Terrance will share how his dances are specific to the First Nations people of our province. This program is suited not only for Arts Education but Physical Education as well. Please see page 2 for a Pre-Broadcast Activity, and pages 6-18 for a selection of Teacher Guided Post-Broadcast Activities. These activities will give students the opportunity to apply what they have learned during the broadcast and to further their learning. About the Artist Curriculum Aims & Goals Terrance Littletent is a member of the Kawacatoose Creative/Productive: Cree Nation and was born and raised in Regina. -
Vol. Xvi, Part Vii
ANTHROPOLOGICAL PAPERS OF THE AMERICAN. MUSEUM OF NATURAL HISTORY VOL. XVI, PART VII THE SUN DANCE OF THE PLAINS INDIANS: ITS DEVELOP- MENT AND DIFFUSION BY LESLIE SPIER NENV YORK PUBLISHED BY ORDER OF THE TRUSTEES 1921 THE SUN DANCE OF THE PLAINS INDIANS: ITS DEVELOP- MENT AND DIFFUSION. BY LESLIE SPIER. 451 PREFACE. Most Plains tribes had the sun dance: in fact, it was performed by all the typical tribes except the Comanche. Since the dance has not been held for years by some tribes, viz., Dakota, Gros Ventre, Sutaio, Arikara, Hidatsa, Crow, and Kiowa, the data available for a comparative study vary widely in value. The chief sources of information outside of this volume are the accounts by G. A. Dorsey for the Arapaho, Cheyenne, and Ponca; Kroeber for the Arapaho and Gros Ventre; Curtis for the Arikara; and Lowie and Curtis for the Assiniboin. There is no published informa- tion for the Fort Hall Shoshoni, Bannock, Kutenai, or Sutaio. So far as I am aware there has been no general discussion of the sun dance. Hutton Webster in his "Secret Societies" considers it, without giving proof, an initiation ceremony. It is the aim of the present study to reconstruct the history of the sun dance and to investigate the char- acter of the factors that determined its development. By a discussion of the distribution of traits-regalia, behavior, ideas of organization, and explanatory myths-it will be shown that the ceremony among all the tribes has grown chiefly by intertribal borrowing. It will be demon- strated further that the center of development has been in the central Plains among the Arapaho, Cheyenne, and Oglala, and that the original nucleus of sun dance rites probably received its first specific character at the hands of the Arapaho and Cheyenne, or of this couple and the Village tribes. -
The Mandan and Hidatsa Establish Missouri Valley Villages
The North Dakota Studies Newspaper Issue One Native Peoples, First Encounter, Fur Trade 1780-1850 THE MANDAN AND HIDATSA ESTABLISH MISSOURI VALLEY VILLAGES The Mandan and Hidatsa Villages through oral tradition, began with The Year of 1730 Charred Body who lived in the Sky. He heard the bellowing of buffalo, and looking through a Over hundreds of years the Mandan people made hole in the heavens, discovered their way from the eastern woodlands of the the earth below. Liking what he Ohio River Valley to the valley of the Missouri saw, he descended to earth in the River. Divided into five bands, the Nuptadi, form of an arrow. He erected 13 the Mananar, the Nuitadi, the Istope, and the earthlodges and brought down 13 Awikaxa, the Mandan have established nine large young couples who founded the well-fortified villages along the banks of the original families. Sacred arrows Knife, Heart, and Missouri rivers. Some reports have the power to protect the tell us that the Mandan reached their present sites people from evil. as early as the year 900. Not long after the Awatixa arrived Numbering in the neighborhood of 9,000, the on the Missouri, the Awaxawi, Mandan are a Siouan-speaking people who Siouan-speaking eastern neighbors, owe their origins to First Creator and Lone left for the Missouri Valley. The Man. These two powerful spirits, the Mandan Awaxawi origin account begins believe, created the Missouri River Valley and the with the creation of the earth Hidatsa village. animals, plants, and people who live there. First by Lone Man and First Creator Creator made the hills, woods, springs, buffalo, who competed with each other deer, and antelope on the south side of the to see who could make the best Valley.