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Young Man Afraid of His Horses: the Reservation Years
Nebraska History posts materials online for your personal use. Please remember that the contents of Nebraska History are copyrighted by the Nebraska State Historical Society (except for materials credited to other institutions). The NSHS retains its copyrights even to materials it posts on the web. For permission to re-use materials or for photo ordering information, please see: http://www.nebraskahistory.org/magazine/permission.htm Nebraska State Historical Society members receive four issues of Nebraska History and four issues of Nebraska History News annually. For membership information, see: http://nebraskahistory.org/admin/members/index.htm Article Title: Young Man Afraid of His Horses: The Reservation Years Full Citation: Joseph Agonito, “Young Man Afraid of His Horses: The Reservation Years,” Nebraska History 79 (1998): 116-132. URL of Article: http://www.nebraskahistory.org/publish/publicat/history/full-text/1998-Young_Man.pdf Date: 1/20/2010 Article Summary: Young Man Afraid of His Horses played an important role in the Lakota peoples’ struggle to maintain their traditional way of life. After the death of Crazy Horse, the Oglalas were trapped on the reservation , surrounded by a growing, dominant, white man’s world. Young Man Afraid sought ways for his people to adapt peacefully to the changing world of the reservation rather than trying to restore the grandeur of the old life through obstructionist politics. Cataloging Information: Names: Man Afraid of His Horses; Red Cloud; J J Saville; Man Who Owns a Sword; Emmett Crawford; -
Scissor Dance: the Danzaq of Southern Peru in New York
Spring–Summer 2015 Volume 41: 1–2 The Journal of New York Folklore Scissor Dance: The Danzaq of Southern Peru in New York Stephen Alcorn on Drawing by Hand in a Digital Age Craft Revisited: A Consumer Revolution In Memoriam: Hilt Kelly, Catskills Fiddler and Caller From the Director From the Editor In the past few weeks, Addy had played in the lives of his family and An explosion of pol- I have been strongly band members. As the family patriarch, Yacub len sent us to the hospi- reminded of the value Addy was the senior “tradition bearer” of a tal one May morning. A of traditional arts and family legacy of the renowned Addy family seemingly extraordinarily culture and their im- of drummers, singers, and dancers from the long winter ended sud- portance to the fabric Avenor neighborhood in Accra, Ghana. This denly with 80-degree of our everyday life. role as the elder statesman of the tradition temperatures and soak- As executive direc- of drumming by the Ga people held great ing showers! Spring flow- tor of the New York cultural importance. However, it was also ers responded immedi- Folklore Society, I consider traditional arts important from an economic viewpoint. ately, enthusiastically casting pollen into the and culture to be an important aspect of Throughout the decades of his involvement air, covering porches and cars in a fine yel- one’s sense of self, and a source of pride with Ghanaian drumming, (from before the low dust. Heaven for those awaiting spring. for a community. It seems to me, without independence of Ghana in 1957 to the pres- Hell for those suffering from allergies and question, that one’s knowledge of one’s own ent), Yacub Addy involved at least 62 band asthma. -
Jesus in the Washat
Digital Commons @ George Fox University Seminary Masters Theses Theses and Dissertations 12-2006 Jesus in the Washat Steven Nicholas Ceddia Follow this and additional works at: https://digitalcommons.georgefox.edu/seminary_masters JESUS IN THE W ASHA T A THESIS SUBMITTED TO THE FACULTY OF GEORGE FOX EVANGELICAL SEMINARY IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS BY STEVEN NICHOLAS CEDDIA MADRAS, OREGON DECEMBER 2006 PORTLAND CENTER LIBRARY GEORGE FOX UNIVERSITY PORTLAND,OR. 97223 THESIS ACCEPTANCE CERTIFICATE Title: JESUS IN THE WASHAT Presented by: STEVEN NICHOLAS CEDDIA Date: DECEMBER 2006 We, the undersigned, certify that we have read this thesis and approve it as adequate in scope and quality for the degree of Master of Arts in Theological Studies. (DanielL. Brunner) Copyright © 2006 by Steve Ceddia All rights reserved 111 To Tracy, and Taylor IV CONTENTS ABSTRACT ....................................................................................................................... vi ACKNOWLEDGMENTS ................................................................................................ vii Chapters 1. INTRODUCTION ....................................................................................... ! 2. W ASHAT HISTORY AND GENERAL THEOLOGY ............................ 10 3. WASHAT CHRISTOLOGY: THEORY ................................................... 31 4. W ASHA T CHRISTOLOGY: WORSHIP ................................................ .48 5. CONCLUSION ......................................................................................... -
Chapter Five the Massacre at Wounded Knee
Chapter Five The Massacre at Wounded Knee 5 There was no hope on earth, and God seemed to have for- gotten us. Some said they saw the Son of God; others did not see Him.… The people did not know; they did not care. They snatched at the hope. They screamed like crazy men to Him for mercy. They caught at the promise they heard He had made. The white men were frightened and called for sol- diers. We had begged for life, and the white men thought we wanted theirs. —Red Cloud, Lakota, 1890 n 1890 a new religious movement called the Ghost Dance swept through the Indian tribes of the western United States. It promised followers that Ieverything on earth would be restored to the way it was before the white men came, with abundant land and game, if the people performed a ritual dance. The Ghost Dance originated with a Paiute prophet named Wovoka who lived on the Walker Lake Reservation in Nevada. Also known as Jack Wilson, Wovoka had lived with a white family during his youth and learned the principles of Christianity (see Wovoka biography, p. 152). On New Year’s Day 1889, a total eclipse of the sun occurred in the west- ern United States. As this unusual and startling event unfolded, Wovoka sud- denly became terribly ill with a high fever. Delirious, he returned to his home and fell unconscious. During this period, Wovoka said that he experienced a powerful dream or vision. “When the sun died, I went up to heaven and saw God and all the people who had died a long time ago,” he related. -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
The Mormons and the Ghost Dance of 1890
Copyright © 1987 by the South Dakota State Historical Society. All Rights Reserved. The Mormons and the Ghost Dance of 1890 GREGORY E. SMOAK On 6 November 1890, Maj. Gen. Nelson A. Miles passed through Saint Paul, Minnesota, after a tour of Indian reserva- tions in Utah, Montana, and Wyoming. During his stop in Saint Paul, the general spoke with reporters and speculated on the ori- gins of the so-called messiah craze that was sweeping the western reservations. "Several small parties of Indians have gone west- ward from their tribes to some point," Miles began, "which, as near as I can locate, is in Nevada, and there they have been shown somebody disguised as the Messiah and have spoken with him." Since Indians from several different tribes had reported speaking with the "Messiah" in their own tongues, Miles concluded that a number of conspirators carried out the impersonation. As to who was instigating the movement, the general stated, "I cannot say positively, but it is my belief the Mormons are the prime movers in all this. I do not think it will lead to an outbreak," he added, "but where an ignorant race of people become religious fanatics it is hard to tell just what they will do."' The general's opinion proved to be wrong. In less than two months, the "Sioux Outbreak of 1890" led to the infamous Battle of Wounded Knee on 29 December 1890. Miles, in fact, directed the Sioux campaign and had sent the first troops to the reserva- 1. Quoted in "Probably a Mormon Trick," New York Times, 8 Nov. -
The History and Practices of a Native American Flute Circle
REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mary Jane Jones August, 2010 Thesis written by Mary Jane Jones B.M., Youngstown State University, 1978 M.S. in Ed., Youngstown State University, 1981 Ph.D., Kent State University, 1991 M.A., Kent State University, 2010 Approved by ________________________________, Advisor Terry E. Miller ________________________________, Director, School of Music Denise A. Seachrist ________________________________, Dean, College of the Arts John R. Crawford ii JONES, MARY JANE, M.A., AUGUST, 2010 MUSIC REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE (64 PP.) Director of Thesis: Terry E. Miller Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute. -
What Sort of Indian Will Show the Way? Colonization, Mediation, and Interpretation in the Sun Dance Contact Zone
WHAT SORT OF INDIAN WILL SHOW THE WAY? COLONIZATION, MEDIATION, AND INTERPRETATION IN THE SUN DANCE CONTACT ZONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Garner, B.A., M.A. Graduate Program in Comparative Studies The Ohio State University 2010 Dissertation Committee: Lindsay Jones, Advisor Maurice Stevens Richard Shiels Copyright by Sandra Garner 2010 ABSTRACT This research project focuses on the Sun Dance, an Indigenous ritual particularly associated with Siouan people, as a site of cultural expression where multiple, often conflicting concerns, compete for hegemonic dominance. Since European contact the Sun Dance has been variously practiced, suppressed, reclaimed, revitalized, and transformed. It has also evoked strong sentiments both from those that sought to eradicate its practices as well as those who have sought its continuance. In spite of a period of intense colonial repression, during the last three decades the Siouan form of the Sun Dance has become one of the most widely practiced religious rituals from Indigenous North America and the number of Sun Dances held and the numbers of people participating has grown significantly. How has the Sun Dance ritual endured in spite of a lengthy history of repression? What is it about the Sun Dance that evokes such powerful sentiments? And, how do we account for the growth of the Sun Dance. I argue that the current growth and practice of the Sun Dance must be considered within the context of colonialism; a central focus of this dissertation. I identify the complex and messy ways that individuals mediate the inequitable power relations that shape colonialist interactions, as well as the way they interpret these social spaces. -
Celebrating the Soul's Otherness and Dionysian Initiation in Carole
Volume 2 Issue 3 INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 When Caesars Dance, Masks Multiply: Celebrating the Soul’s Otherness and Dionysian Initiation in Carole Maso’s Ghost Dance Insaf Khémiri University of Sousse, Tunisia Abstract With reference to Carole Maso’s Ghost Dance and focusing on one specific character, the Italian American grandfather, Angelo, the present paper tried to study the archetypal images of Caesars which fed the self-centred patriarchal Western ‘ego’ and, thus, poisoned the character’s soul, hindered his freedom, and affected his relationships. While the first part dealt with the four manifestations of ‘Caesar’: the Christian God, the patriarchal Father, the white Anglo-centric man, and the Italian ‘master,’ the second part attempted to highlight the importance of masks in freeing the ‘ego’ from the dominance of Caesars. The soul selects ‘its’ own society by discovering other images, gods, spirits, and ghosts and the character’s freedom depended on the ‘remythologization’ of these multiple facets of the psyche. Keywords: Archetypes, the Dionysian, Otherness, Shamanism. http://ijhcschiefeditor.wix.com/ijhcs Page 515 Volume 2 Issue 3 INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 As Holly E. Martin notes, U.S. ethnic writers revolt against the hegemonic idea of a “completely unified subject or self” (Martin 85) through including figures or ‘presences’ from ‘pagan’ myths and legends because the flexibility of these personages and their multiple facets might inspire the modern person with stories of transformation to facilitate the process of shifting identity in a multicultural world. -
Dancing in Body and Spirit: Dance and Sacred Performance In
DANCING IN BODY AND SPIRIT: DANCE AND SACRED PERFORMANCE IN THIRTEENTH-CENTURY BEGUINE TEXTS A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Jessica Van Oort May, 2009 ii DEDICATION To my mother, Valerie Van Oort (1951-2007), who played the flute in church while I danced as a child. I know that she still sees me dance, and I am sure that she is proud. iii ABSTRACT Dancing in Body and Spirit: Dance and Sacred Performance in Thirteenth-Century Beguine Texts Candidate’s Name: Jessica Van Oort Degree: Doctor of Philosophy Temple University, 2009 Doctoral Advisory Committee Chair: Dr. Joellen Meglin This study examines dance and dance-like sacred performance in four texts by or about the thirteenth-century beguines Elisabeth of Spalbeek, Hadewijch, Mechthild of Magdeburg, and Agnes Blannbekin. These women wrote about dance as a visionary experience of the joys of heaven or the relationship between God and the soul, and they also created physical performances of faith that, while not called dance by medieval authors, seem remarkably dance- like to a modern eye. The existence of these dance-like sacred performances calls into question the commonly-held belief that most medieval Christians denied their bodies in favor of their souls and considered dancing sinful. In contrast to official church prohibitions of dance I present an alternative viewpoint, that of religious Christian women who physically performed their faith. The research questions this study addresses include the following: what meanings did the concept of dance have for medieval Christians; how did both actual physical dances and the concept of dance relate to sacred performance; and which aspects of certain medieval dances and performances made them sacred to those who performed and those who observed? In a historical interplay of text and context, I thematically analyze four beguine texts and situate them within the larger tapestry of medieval dance and sacred performance. -
Dreams and Dust in the Black Hills: Race, Place, and National Identity in America's "Land of Promise" Elaine Marie Nelson
University of New Mexico UNM Digital Repository History ETDs Electronic Theses and Dissertations 8-19-2011 Dreams and Dust in the Black Hills: Race, Place, and National Identity in America's "Land of Promise" Elaine Marie Nelson Follow this and additional works at: https://digitalrepository.unm.edu/hist_etds Part of the History Commons Recommended Citation Nelson, Elaine Marie. "Dreams and Dust in the Black Hills: Race, Place, and National Identity in America's "Land of Promise"." (2011). https://digitalrepository.unm.edu/hist_etds/58 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i ii ©2011, Elaine Marie Nelson iii DEDICATION I wish to dedicate this to my parents—and their parents—for instilling in me a deep affection for family, tradition, history, and home. iv ACKNOWLEDGMENTS I do not remember our first family vacation. My sisters and I were so used to packing up and hitting the road in the family station wagon (later a minivan), that our childhood trips blur together. Oftentimes we visited our paternal grandparents in Sidney, Nebraska, or our maternal grandparents in Lincoln, Nebraska. But on special occasions we would take lengthy road trips that ended with destinations in the Appalachian Mountains, the Gulf of Mexico, Yellowstone National Park, and Myrtle Beach. As an ―East River‖ South Dakotan, driving six hours west to visit the Black Hills was hardly as exciting as going to the beach. -
THE WHITE MAN's GHOST DANCE by Robert C
CONSTITUTIONALISM - THE WHITE MAN'S GHOST DANCE by Robert C. Black* Dale Pond, Howard Fisher, Richard Knutson, and the North American Freedom Council. The History of American Constitutional or Common Law with Commentary Concerning Equity and Merchant Law. Santa Fe, New Mexico: The Message Company, 1995. Glendower: I can call spirits from the vasty deep. Hotspur: Why, so can I, or so can any man. But will they come when you do call for them? - Henry IV, Part I (III, i, 53) Once upon a time, there was a fair land called England. All the English were free men and most of them were serfs. All the English were self- governing in counties run by sheriffs appointed by kings, the descendants of foreign conquerors. England alone enjoyed the Common Law, handed down from Sinai by Moses, and dating from 1215 A.D. Secured by the Common Law, all men's property was inviolable, and all of it belonged to the king. The Common Law, also known as Natural Law and God's Law, only restricted conduct which harmed the person or property of another, such as swearing, fornicating, possessing weapons in the royal forests, converting to Judaism, or dreaming that the king had died. There was complete religious freedom,i.e., Roman Catholicism was the state church, attendance at services was compulsory, and heretics were executed. As perfect, as unchangeable as the Common Law always was, it got even better when free and prosperous Englishmen fleeing persecution and poverty brought it to America. They repaired there, as Garrison Keilor quipped, to enjoy less freedom than they had in England.