Son Who Returns Lesson Plan
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
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). -
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. -
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. -
TO a POWWOW (Materials Used with Permission from the Muskegon Powwow)
WELCOME TO A POWWOW (Materials used with permission from the Muskegon Powwow) Your presence in this celebration of our you hear at a Powwow are part of an oral heritage honors us. We hope that you will tradition and are learned by the singers gain a greater understanding and through an apprenticeship. The songs and appreciation of the North American Native the Drum should be approached with cultures and visions so that we may gain proper cultural courtesies. The Drum renewed respect for one another. We ask should be considered the same as a sacred our guests to be attentive to special bundle and must be treated with respect observances during the Powwow and to join and not handled unless its purpose is in our respect for our traditions and understood. Songs are treated in the same spiritual beliefs. This program was written way. Some songs can be sung only under to explain the meanings of our ways and special circumstances. Others are not sung seek to further develop mutual at all because of their power. The singers understanding of our cultures. collectively called the Drum, direct the dancers and radiate the spirit from the The Powwow has an historical, spiritual, and Sacred Circle's center. social value to the North American Native people. In addition to participating in the POWWOW ETIQUETTE traditional dances and songs, the Native Powwows are sacred events steeped in people can visit with family and friends, tradition. This sacredness will be make new acquaintances, and trade their explained later. However, to help you arts and crafts. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CLYDE WARRIOR’S “RED POWER”: A FRESH AIR OF NEW INDIAN IDEALISM A DISSERTATION SUBMITTED TO THE GRADUATE COLLEGE In partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By PAUL R. MCKENZIE-JONES Norman, Oklahoma 2012 CLYDE WARRIOR’S “RED POWER”: A FRESH AIR OF NEW INDIAN IDEALISM A DISSERTATION APPROVED FOR THE DEPARTMENT OF HISTORY BY ______________________________ Dr. R. Warren Metcalf, Chair ______________________________ Dr. Joe Watkins ______________________________ Dr. Albert Hurtado ______________________________ Dr. Benjamin Alpers ______________________________ Dr. Fay Yarbrough © Copyright by PAUL MCKENZIE-JONES 2012 All Rights Reserved. Dedicated to my wife Yvonne Tiger, our two children, Jordan and Lula, my three parents, Glyn, Carol (deceased) and Sue Jones, and my in-laws, Marcy and Sandy Tiger Acknowledgements It has been a long and convoluted journey, crossing two continents, to this dissertation. As such thanks are due to people in three countries. England, Scotland, and the United States. Four, if you wish to count Indian Country as a distinct region. Beginning in England, I owe a huge debt to Dr. Colin Harrison for authorizing my independent studies in American Indian history when my undergraduate degree offered no courses covering this material. Without this initial intellectual freedom, I doubt I would have continued the journey that led me to the University of Oklahoma. I also owe an equal debt to the American Studies Director, Joanna Price, for allowing me to eschew the numerous forms of critical theory thrown at me in favor of ‘close reading.’ Without close reading I think my academic career would have stopped with my BA. -
Native Trails a Teacher’S Resource Guide
Native Trails A Teacher’s Resource Guide Table of Contents ________________________________________________________ Theater Etiquette Page 4 Native Trails Song and Dance Summary Page 5 Featured Performers Page 6-7 The Dances Page 8-9 Lesson Plans Page 10-15 Other Resources and Bibliography Page 16 3 Theater Etiquette _________________________________________ Each year thousands of teachers, students, bus drivers, and parents take part in CSB/SJU’s Education Series. To make your theater experience the best it can possibly be, below are a few helpful hints to follow at the theater. It is our hope that a review of these procedures will answer any questions that you or your students may have. ~Please make an effort to bring a minimum of one adult chaperone for every fifteen students. ~Prepare your students to enter the theater in single file in the order of seating. Position your chaperones in such a way as to maximize adult supervision of your group. ~Trips to the bathroom must wait until your group is seated in the theater. Then, if necessary, students may go in small groups with the teacher’s permission. Please, chaperone younger students. ~To make the theater experience enjoyable for all, we do not permit: Food, gum, or drinks Radios, Cameras, Tape or Video recorders Inappropriate behaviors Following the performance, a member of the CSB/SJU Fine Arts Programming Department will dismiss Schools from the theater. Thank you and enjoy the performance! 4 Native Trails Song and Dance Summary _________________________________________ Over time, native peoples have shared ideals in philosophy, craft and medicine. Native Trails exposes the cultural similarities of American tribes with the indigenous cultures of Mexico in a fascinating exchange of music and dance. -
Powwows As an Arena for Pan-Indian Identity Formation
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2002 Powwows as an Arena for Pan-Indian Identity Formation Megan L. MacDonald Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Comparative Methodologies and Theories Commons Recommended Citation MacDonald, Megan L., "Powwows as an Arena for Pan-Indian Identity Formation" (2002). Master's Theses. 3878. https://scholarworks.wmich.edu/masters_theses/3878 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. POWWOWS AS AN ARENA FOR PAN-INDIAN IDENTITY FORMATION by Megan L. MacDonald A Thesis Submitted to the Faculty of The Graduate College in partial fulfillmentof the requirements for the Degree of Master of Arts Department of Comparative Religion Western Michigan University Kalamazoo, Michigan August 2002 Copyright by Megan L. MacDonald August 2002 ACKNOWLEDGMENTS First, I would like to thank all American Indian veterans. Your leadership and participation in the powwow inspired me to conduct this study. You inspire many without saying any words. Second, I would like to thank my committee members, Dr. Brian Wilson, Dr. Carolyn Podruchny, and Dr. Nancy Falk. Without their support and insight, this project would have never come so far. They also deserve a special thank you for allowing me to study an aspect of religious studies that is not often addressed. There are also quite a few people who have entered my life that deserve thanks. -
Singing to the Spirits: Cultural and Spiritual Traditions Embodied in the Native American Gourd Dance
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Sociology and Anthropology Spring 4-2013 Singing to the Spirits: Cultural and Spiritual Traditions Embodied in the Native American Gourd Dance Alicia M. Gummess Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/socanth_honproj Part of the Social and Cultural Anthropology Commons Recommended Citation Gummess, Alicia M., "Singing to the Spirits: Cultural and Spiritual Traditions Embodied in the Native American Gourd Dance" (2013). Honors Projects. 44. https://digitalcommons.iwu.edu/socanth_honproj/44 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by Faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Singing to the Spirits: Cultural and Spiritual Traditions Embodied in the Native American Gourd Dance Honor’s Research Paper Anthropology Program, Department of Sociology & Anthropology Honor’s Committee: Rebecca Gearhart (Advisor), Adriana Ponce, Steve Press, Chuck Springwood Alicia Gummess April 2013 2 "Experiencing, conversing, and writing - this is the work of serious ethnography." Luke E. Lassiter, The Power of Kiowa Song Introduction In the history of the United States, few issues cause more controversy than the colonization of Native American land and culture at the expense of the indigenous peoples. -
Restoring Harmony Powwow 2011 Booklet
Restoring Harmony Powwow 2011 April 30, 2011 Tulsa West Side YMCA 5400 South Olympia Avenue, Tulsa, OK Welcome to the 2011 Restoring Harmony Pow Wow “Nourishing the Roots of Resilience” The Tulsa Indian Community Advisory Team (TICAT) presents the 2011 Restoring Harmony Powwow as part of their efforts to promote the National Children’s Mental Health Awareness Day, a day nationally recognized on May 3rd, 2011. The Powwow, co-sponsored by Indian Health Care Resource Center of Tulsa, Osage Nation Counseling Center, and Muscogee (Creek) Nation Protecting the Future-Children’s Mental Health Initiative, is an event designed to celebrate the national initiative through its message. The theme for this year’s Powwow is “Nourishing the Roots of Resilience” which mimics the national theme, “Building Resiliency in Young Children.” The Powwow committee and participants work toward the goal of educating our community about children’s mental health issues and increasing access to available social services.We are excited to offer this fun, safe and family- friendly event to the greater Tulsa area, and we envision the Powwow as a day of celebration. There are activities available for all ages, including an awareness hike, dance specials (to honor our youth and elders), educational and vendor booths, and youth speak outs. This year marks the fourth Restoring Harmony Powwow. Previous Restoring Harmony Powwows were successful due in large part to contributions from and partnerships with Tulsa area tribal and community organizations and agencies. Please keep in mind, we need your support again in 2012 to make the Restoring Harmony Powwow a successful event next year.