2020 Dixie Fellowship Guidelines Section SR-5, Order of the Arrow
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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 @ -
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....................................................... -
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. -
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. -
Dance - Print, Audio-Visual, and Other Resources
Saskatchewan Learning Resources Arts Education Additional Learning Resources 2009 9 Empty, 1 col — right side page Arts Education: Additional Learning Resources • Grade 9 Arts Education Additional Learning Resources 9 Prepared by: Curriculum and E-Learning Branch Ministry of Education 2009 Arts Education: Additional Learning Resources • Grade 9 | Arts Education: Additional Learning Resources • Grade 9 Arts education: additional learning resources 9 ISBN 978-1-926631-28-8 1. Art – Study and teaching (Middle school) – Bibliography. 2. Art – Bibliography. I. Saskatchewan. Ministry of Education. Curriculum and E-Learning. Humanities Unit. 011.625 016.3725 All rights for images of books or other publications are reserved by the original copyright owners. | Arts Education: Additional Learning Resources • Grade 9 Empty, 1 col — right side page Arts Education: Additional Learning Resources • Grade 9 Table of Contents Foreword..................................................................................................................v Dance.-.Print,.Audio-visual,.and.Other.Resources...........................................1 Drama.-.Print,.Audio-visual,.and.Other.Resources........................................ 19 Music.-.Print,.Audio-visual,.and.Other.Resources......................................... 22 Visual.Art.-.Print,.Audio-visual,.and.Other.Resources.................................. 36 Digital.Resources................................................................................................. 74 Arts Education: Additional -
Powwow As Spaces of Public: Circulated Meanings of a Native Practice for Non-Natives Joshua Eugene Young
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects January 2015 Powwow As Spaces Of Public: Circulated Meanings Of A Native Practice For Non-Natives Joshua Eugene Young Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Young, Joshua Eugene, "Powwow As Spaces Of Public: Circulated Meanings Of A Native Practice For Non-Natives" (2015). Theses and Dissertations. 1855. https://commons.und.edu/theses/1855 This Dissertation is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. POWWOW AS SPACES OF PUBLIC: CIRCULATED MEANINGS OF A NATIVE PRACTICE FOR NON-NATIVES By Joshua Eugene Young Bachelor of Arts, Drake University, 2008 Master of Arts, University of Northern Iowa, 2011 A Dissertation Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillment of the requirements for the degree of Doctor of Philosophy Grand Forks, North Dakota May 2015 Copyright 2015 Joshua E. Young ii This dissertation, submitted by Joshua E. Young in partial fulfillment of the requirements for the Degree of Doctor of Philosophy from the University of North Dakota, has been read by the Faculty Advisory Committee under whom the work has been done and is hereby approved. Kyle Conway Stephen Rendahl Timothy Pasch Ronald Greene Rebecca Weaver-Hightower This dissertation is being submitted by the appointed advisory committee as having met all of the requirements of the School of Graduate Studies at the University of North Dakota and is hereby approved. -
Contest Powwow: Sport and Native American Culture
The Qualitative Report Volume 26 Number 1 Article 2 1-4-2021 Contest Powwow: Sport and Native American Culture Steven J. Aicinena Dr The University of Texas Permian Basin, [email protected] Sebahattin Ziyanak The University of Texas Permian Basin, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, Social Statistics Commons, and the Sports Studies Commons Recommended APA Citation Aicinena, S. J., & Ziyanak, S. (2021). Contest Powwow: Sport and Native American Culture. The Qualitative Report, 26(1), 27-51. https://doi.org/10.46743/2160-3715/2021.4517 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Contest Powwow: Sport and Native American Culture Abstract The Native American powwow has served to maintain the culture of North America’s Indigenous peoples since before the arrival of European colonialists. In traditional forms of the powwow, competition is not common whereas contest powwows are characterized by the primacy of competition. We assess similarities and differences between the contest powwow and competitive sport found within the broader American society through in-depth semi-structured interviews with 14 competitive contest powwow dancers. We address a number of questions through the qualitative research process, such as what does the powwow mean to you? What are your primary goals for competing? We analyzed the qualitative data via a three-step coding process (open coding, axial coding, and theme development). -
The Native American Contest Powwow As an Implicit Religion
IOSR Journal of Humanities And Social Science (IOSR-JHSS) Volume 25, Issue 9, Series 2 (September. 2020) 16-35 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Native American Contest Powwow as an Implicit Religion Steven Aicinena1 and Sebahattin Ziyanak2 1 Professor: Kinesiology University of Texas Permian Basin, Odessa, Texas 2 Associate Professor, Sociology University of Texas Permian Basin, Odessa, Texas ABSTRACT Religion serves a variety of functions in societies. Secular items and goals serve equivalent social functions in the form of implicit religion. The role of implicit religion in Native American cultures has yet to be explored. This paper examines Durkheim‟s views on religion and Bailey‟s views concerning implicit religion as they relate to the Native American contest powwow. We employ Sage, Eitzen, and Beal‟s eleven shared characteristics of religion and sport to determine existing connections between religion and the contest powwow. The purpose of this study is to determine if the intertribal contest powwow can be classified as an implicit religion. In this qualitative research, we collect data through participant observation and in-depth semi- structured interviews pertaining to participants‟ experiences and viewpoints concerning the contest powwow. We analyze the data by employing step-by-step coding processes. Our findings yield sixteen themes and fourteen subthemes. This study unequivocally demonstrates that the contest powwow functions in Native American powwow communities as an implicit religion. KEYWORDS: Christianity, Contest Powwow, Emile Durkheim, Gathering of Nations Powwow, Implicit Religion, Native American Religion, Sport as an Implicit Religion ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 25-08-2020 Date of Acceptance: 09-09-2020 ----------------------------------------------------------------------------------------------------------------------------- --------- I. -
Ostension in Native American Hoop Dancing
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 8-2020 The Sacred Circle: Ostension in Native American Hoop Dancing Emma George Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the American Studies Commons, English Language and Literature Commons, and the Folklore Commons Recommended Citation George, Emma, "The Sacred Circle: Ostension in Native American Hoop Dancing" (2020). All Graduate Plan B and other Reports. 1456. https://digitalcommons.usu.edu/gradreports/1456 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. 1 THE SACRED CIRCLE: OSTENSION IN NATIVE AMERICAN HOOP DANCE by Emma George A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Folklore and American Studies Approved: ______________________ ____________________ Eric Morales, Ph.D. Lynne S. McNeill, Ph.D. Major Professor Committee Member ______________________ Judson Finley, Ph.D. Committee Member UTAH STATE UNIVERSITY Logan, Utah 2020 2 Copyright © Emma George 2020 All Rights Reserved 3 ABSTRACT The Sacred Circle: Ostension in Native American Hoop Dance Emma George This thesis examines the role of the semiotic concept ostension in folk dance, specifically in Native American hoop dance. Although the discipline of folklore is well- versed in ostension, folk dance has not been examined through this lens. I argue that dance is a form of ostension, of demonstrating a narrative, and this is especially apparent within Native American hoop dancing. -
Pow Wow Dances
Pow Wow Dances Activity Information Grade Appropriate Level: Grade K - 3 Duration : Three, 30 minute classes. Materials: Classroom or library access to internet. Paper for drawing, markers, pencil colours, crayons, large area for movement. Objective • Children will gain a greater appreciation for other cultures and their ceremonies and traditions by learning about Pow Wow style dances and their connections to the environment. Prescribed Learning Outcomes It is expected that students will: • move expressively to a variety of sounds and music. • create movements that represent patterns, characters, and other aspects of their world. • organize information into sequenced presentations that include a beginning, middle, and end. • demonstrate awareness of British Columbia's and Canada's diverse heritage. Skills Researching, analyzing results, singing, dancing, presenting material Introductory Activity • The teacher reads a brief description of the history and purpose of the Pow Wow to the class from the “About Pow Wows” sheet (included in package) • Have students listen to dance music and songs. Children can view and discover different Pow Wow dance styles, music and dress from the following website: http://www.ktca.org/powwow/dances.html Some information from the website has been included as .pdf files at the end of this lesson plan in the event the website is down or can’t be accessed. Suggested Instructional Strategies 1. List the different competition categories for Pow Wow dancers on the board. ie. Fancy dancers. (Found in “About Pow Wow” from INAC sheet included in resource package.) 2. Dancers wear regalia with fringes of yarn or fabric on their aprons, capes, and leggings. -
Powwow Songs: Music of the Plains Indians New World 80343-2 This Album Offers Ceremonial and Social Music of Indians from the Gr
Powwow Songs: Music of the Plains Indians New World 80343-2 This album offers ceremonial and social music of Indians from the Great Plains. Although the styles of singing and drumming vary greatly in different regions and among different tribes, the forms of the music are similar, enabling musicians from many tribes to perform together. Most of the music here is intertribal singing of what are now the Southern Plains Indians, primarily from Oklahoma; Tracks 5-9 add the intertribal music of the Northern Plains Indians. The setting for the music is the powwow, a general gathering, usually several days in length, that includes feasting, giveaways, arts-and-crafts sales, raffles, and the honoring of special guests and of veterans. The powwow itself has been transplanted to the cities, where an estimated half of the nation's Indians now live. Each powwow club, composed of Indian community members, takes the year-long responsibility of planning and raising money for this annual event. The need for prize money, gas money, and food for singers and dancers; fees for a master of ceremonies; and rental of public-address systems demands a complex volunteer organization. Tracks 1-4 and 9-11 were recorded live at the sixth annual Kihekah Steh Powwow, Skiatook, Oklahoma, in August 1975. Tracks 5-8 were recorded by the Los Angeles Northern Singers in October 1975 at an informal performance. Songs from the Southern Plains The singers: Adam Pratt, leader Jack Anquoe, Henry Collins, Bill Grass, James “Chick” Kimble, Lionel Le Clair, Ed Little Cook, Oliver Little Cook, Morris Lookout, Joe Rush, E.R.