Volume 1 Article 9 Issue 3 Spring 3-15-1982 Review - Kiowa Voices Lois B. Fisher Follow this and additional works at: https://dc.swosu.edu/westview Recommended Citation Fisher, Lois B. (1982) "Review - Kiowa Voices," Westview: Vol. 1 : Iss. 3 , Article 9. Available at: https://dc.swosu.edu/westview/vol1/iss3/9 This Nonfiction is brought to you for free and open access by the Journals at SWOSU Digital Commons. It has been accepted for inclusion in Westview by an authorized administrator of SWOSU Digital Commons. For more information, please contact [email protected]. REVIEWS E VIE W S — RE VIE W S — RE VIE W S • • KIOWA VOICES - A REVIEW posed in such simplicity that an elementary - by Lois B. Fisher school child could read it without difficulty. These legends are the core of Kiowa culture KIOWA VOICES, Volume I, is the first and ritual and reveal the beliefs in Saynday, of three books compiling information about the culture hero, and Domoye-alm-daw- the Kiowa tribe, which is domiciled in South­ k’hee, the Earth-maker. Most begin with western Oklahoma. First conceived by Linn the words, “Long ago . .” Because of the Pauahty and James Auchiah, who were con­ large, distinctive print, a reader not interested cerned about the imminent loss of the Kiowa in history or exposition can easily and ad­ “cultural chain” due to the death of those vantageously read only the legends. who remembered and the lack of a permanent Following — but sometimes preceding — record, this work is the result of numerous the legends are vivid and explicit explana­ interviews and diligent research, including tions of their origins and their significance much material held by the Smithsonian and to the Kiowa people. Intermixed are more other institutions. Another invaluable re­ poems appropriately placed to explain the source lies in the folders of Susan Peters, topic. But the frequent use of poetry adds Kiowa field matron, who for fifty years another dimension, that of the oral and lyric recorded stories and remembrances of many nature of the Kiowa culture. It serves as a tribal elders. The work was made possible continuous background of rhythm and color by grants from the National Endowment for which guides the reader through the Kiowa the Arts and from Texas Christian University experience. The book is to be read not only in conjunction with the Kiowa Historical for information but also for immersion in and Research Society. The Society was ap­ the Kiowa way of life. proved by the Kiowa Tribal Council in 1975. Saynday, the Kiowa culture hero, wan­ Indeed, KIOWA VOICES is the voices dered alone on the sunless earth until = 28 of the Kiowa tribe. But Maurice Boyd is the he discovered the Kiowas living under­ official author, having composed the text, ground. He enabled the people, as ants, while Linn Pauahty serves as Kiowa Con­ to crawl upward through a hollow cot­ sultant along with the Kiowa Historical and tonwood tree and pulled them through Research Society. Donald E. Worcester is a Saw-pole’s hole upon the darkened face recognized as Associate Editor. of the earth. Even a superficial scan of the volume With this brief myth the Kiowa culture — reveals its uniquenesss and its artistic as well and KIOWA VOICES — begins. It then turns as its cultural value. Because most of Kiowa to the history of the tribe, which is thought history and culture existed prior to very to be linked with the Athapaskans, the first recent times in the form of the spoken word, of the race to migrate into North America. the song, and the art work, the volume is Later the Kiowas were known to move no- distinctly pictorial. Besides the major full- madically between Montana and the Mis­ color reproductions of paintings by artists souri River. Still later the tribe migrated as Robert Redbird, A1 Momaday, Blackbear conditions dictated between Montana south Bosin, Stephen Mopope, David Williams, through South Dakota, Nebraska, and Kansas, Roland Whitehorse, Ernie Keahbone, White to where it broadened its territory to include Buffalo, Kevin Tonips, and Dennis Belindo, western Oklahoma, the Texas Panhandle, there are numerous drawings by Roland and northeastern New Mexico. Whitehorse and C. E. Rowell as well as re­ During these years, the Kiowa culture productions of symbols and photographs grew. KIOWA VOICES includes detailed from various collections. The black-on-white descriptions of the Sun Dance (the major drawings emphasize the use of wide margins ritual of the tribe), the Buffalo Dance, the and the generous use of “white space.” Each Scalp Dance, the Warrior’s Dance, the Black page is an artistic creation. Legs Dance, the Rabbit Dance, the Buffalo But the history and legends are also Medicine Cult Dance, the Feather Dance, and uniquely presented. Each chapter is intro­ the Gourd Dance. Each 'has its own legend duced with a poem appropriate to the materi­ or origin, purpose, and procedures, reflecting al following. The usual order is to follow the parts of the tribe’s history and traditions. poem with a brief prose explanation intro­ Another detail of the text is the origin ducing a legend set in large print and com­ and function of each “society” within the WESTVIEW REVIEWS P E V IE WS*** RE VIE WS**'RE VIE W = tribe. Every person belongs to at least one carefully verified bv every available method. = = society and so is active in preparing for But, most importantly, it has the sanction = various celebrations and rituals. But these of the Kiowa Tribal Council. It is they who = groups have another purpose. The Rabbit insure the authenticity of their own culture. = = Order, for example, is “the beginning of a If a reader approaches KIOWA VOICES = clearly defined training ladder through which expecting to find a plea for sympathy toward E= s f nearly all Kiowa youths pass,” states the the Indians or if he expects to find a senti­ = author. Each order has its own legend and mental treatment of a lost past, he will be = ritual, which are intricately woven together. disappointed. He will be no less disappointed =S KIOWA VOICES describes the societies’ if he expects to find a militant defense of the = contribution to Kiowa tribal unity. Indian way of life. What the reader will find During the development of their culture, is that rare experience of walking in the = the Kiowas finally split — over an incident Kiowa’s moccasins for a time, of almost = concerning who had a right to an antelope’s seeing the world through Kiowa eyes and = udder — the present and only surviving part nearly sensing the tribal spirit as a Kiowa = of the original tribe gradually moving south most surely does. It is a delicate balance = == and now principally centered in the south- between truth — which is sometimes ugly = western quarter of Oklahoma, especially in, and brutal — and beauty — which is often ^ appropriately, Kiowa County. It is here that bright and spiritually moving. = the last full blooded Kiowas live, carrying For us in Western Oklahoma, KIOWA = on their tribal customs with modern in- VOICES amplifies the whispers of this Plains = novations. But it is also here that the elders Indian tribe to audible — and understand­ = j fear that the language and culture will die. able — syllables. We can hear — and com­ = j Many have taken the Christian way and have prehend — James Auchiah’s words: = united the two — Kiowa and Christian — We Kiowa are old, but we dance. = into one way of life, which is both accep­ Ageless. Our dance is spirited. ^ 5 t s table and sustaining. Others have taken the Today’s twisting path is temporary; — = “Peyote Road” to find the answers to the the path will be gone tomorrow, = prayer: but the folk memory remains. = Let us see, is this real, Our forefathers’ deeds touch us, == This life I am living, is it real? shape us, like strokes of a painting. You, Sayn-daw-kee, who dwells every- In endless procession, their deeds mark — where, us. Let us see, is this real, this life I am liv- The elders speak knowingly of forever. = ing? = Eating peyote buttons during the ritual The person who loves beautiful books, = of the peyote ceremony produces hallucino- appreciates an artistic handling of priceless = genic experiences. By their own admission, material, or just enjoys stories about Indians = the Kiowas use the peyote ceremony to or Indian art can order Volume I of KIOWA = preserve the Kiowa culture. Monroe Tsatoke VOICES from The Texas Christian Univer­ == records this prayer he voiced during a peyote sity Press, Fort Worth, Texas 76129. The = inspired vision: reader will not be disappointed. O Sayn-daw-kee, mystery and power, The ancient medicine wheel encompassed = our original world; = Powerful, from the Sun, it gave us Tah’-lee, Some say it is a Wheel of Dreams, = But others know it as a Wheel of Wonder. = See us through eternal life. But changes occur, even while Kiowas cling == to their heritage. — KIOWA VOICES — all three volumes — = is invaluable for its preservation of the oral = record of rituals, songs, and ceremonial = dances of the Kiowa tribe. The sources are WESTVIEW.