Short History of Pan-Indianism
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Afraid of Bear to Zuni: Surnames in English of Native American Origin Found Within
RAYNOR MEMORIAL LIBRARIES Indian origin names, were eventually shortened to one-word names, making a few indistinguishable from names of non-Indian origin. Name Categories: Personal and family names of Indian origin contrast markedly with names of non-Indian Afraid of Bear to Zuni: Surnames in origin. English of Native American Origin 1. Personal and family names from found within Marquette University Christian saints (e.g. Juan, Johnson): Archival Collections natives- rare; non-natives- common 2. Family names from jobs (e.g. Oftentimes names of Native Miller): natives- rare; non-natives- American origin are based on objects common with descriptive adjectives. The 3. Family names from places (e.g. following list, which is not Rivera): natives- rare; non-native- comprehensive, comprises common approximately 1,000 name variations in 4. Personal and family names from English found within the Marquette achievements, attributes, or incidents University archival collections. The relating to the person or an ancestor names originate from over 50 tribes (e.g. Shot with two arrows): natives- based in 15 states and Canada. Tribal yes; non-natives- yes affiliations and place of residence are 5. Personal and family names from noted. their clan or totem (e.g. White bear): natives- yes; non-natives- no History: In ancient times it was 6. Personal or family names from customary for children to be named at dreams and visions of the person or birth with a name relating to an animal an ancestor (e.g. Black elk): natives- or physical phenominon. Later males in yes; non-natives- no particular received names noting personal achievements, special Tribes/ Ethnic Groups: Names encounters, inspirations from dreams, or are expressed according to the following physical handicaps. -
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. -
Wovoka Remained with the Wilsons for Several Years Before Returning to His Reservation
Wovoka remained with the Wilsons for several years before returning to his reservation. In 1888 he fell ill and in a state of fever he received in a dream what was to be the basis of his Messiah Craze. (2). On January ist 1889, the Paiutes near Walker Lake, Nevada, witnessed an eclipse, and being sun worshippers, they regarded it as an attack on their god. To scare away the evll spirit they believed was the cause, they set up a great clamour, and became very excited. It was at this traumatic time that Wovoka revealed what he had dreamed; that he died and was taken up to heaven where he met the Great Spirit, and saw all the long dead Indians happy and forever young enjoying all their sports and earthly pastimes. He was told to return to earth with these instructions for his people: they must be good and love one another, have no quarreling and llve in peace with the whites; that they must work, and not lle or steal; that they must put away all the old practices that savoured of war; that if they faithfully obeyed his instructions they could at last be reunited with their friends in the other world, where there would be no more death or sickness or old age ..." To bring about all of this, the Indians were to perform a dance, and in his dream, Wovoka was instructed by the Great Spirit to teach the Indians the Ghost Dance~ as it became known. The Indians were to Join hands in a circle and shuffle to the left; food and water was prohibited, and the ceremony was to last for five days. -
Doane Robinson Collection Chronological Correspondence (1889-1946)
Doane Robinson Collection Chronological Correspondence (1889-1946) BOX 3359A Folder #1: Correspondence, 1889-1898 March 8, 1889 from W.T. La Follette. Seeking endorsement for his candidacy for U.S. Marshal. March 8, 1889 from Henry Neill. Seeking endorsement for Major D.W. Diggs as Territorial Treasurer. May 28,1891 to Wilfred Patterson. News release. July 16,1891 from Wm. H. Busbey. "Graphic Study in National Economy, "by Robinson. Feb.16,1892 from American Economist. "Graphic Study in National Economy." March 5, 1892 from U.S. Senator R.F. Pettigrew. "Graphic Study in National Economy." Feb. 25,1898 from N.G. Ordway. Capital fight of 1883. July 1, 1899 from C.H. Goddard. Goddard's poem "Grinnell." Folder #2: Correspondence, 1901 Jan. 22 from Pierre Chouteau. South Dakota State Historical Society. Feb. 2 from Pierre Chouteau. Honorary membership in South Dakota State Historical Society. Feb. 3 from Mrs. A.G. Sharp. Her capture by Indians in 1857 at Lake Okoboji. Feb. 4 from Nathaniel P. Langford. His book Vigilante Days and Ways. Feb. 5 from unknown past governor of Dakota. Relics. Feb. 5 from William Jayne. Experiences in Dakota. Feb. 9 from Mrs. William B. Sterling. Husband's effects. March 4 from Garrett Droppers, University of South Dakota. Life membership in Historical Society March 5 from T.M. Loomis. Offering books and papers. March 9 from Mrs. William B. Sterling. Husband's effects. March 22 from John A. Burbank. Razor fro museum. March 30 from Mrs. William B. Sterling. Husband's effects. July 17 from C.M. Young. First school house at Bon Homme. -
News Release
NEWS RELEASE 100 Legends Lane • Waco, Texas 76706 • (254) 754-9900 • Fax: (254) 754-7373 • www.afca.com FOR IMMEDIATE RELEASE DECEMBER 20, 2017 AFCA CONTACT: Vince Thompson, Director of Media Relations 254-754-9900 SAM HOUSTON STATE’S JEREMIAH BRISCOE AND WESTERN ILLINOIS’ BRETT TAYLOR HIGHLIGHT THE 2017 AFCA FOOTBALL CHAMPIONSHIP SUBDIVISION COACHES’ ALL-AMERICA TEAMS WACO, TEX. — Two-time AFCA All-American quarterback Jeremiah Briscoe of Sam Houston State and Western Illinois linebacker Brett Taylor headline the 2017 AFCA Football Championship Subdivision Coaches’ All-America Team announced today by the American Football Coaches Association. The AFCA has selected an All-America team since 1945 and currently selects teams in all five of its divisions. What makes these teams so special is that they are the only ones chosen exclusively by the men who know the players the best — the coaches themselves. Briscoe, a top-three finalist for the Walter Payton Award, has thrown for a SHSU single-season record 5,003 yards which leads the nation. He also leads the nation in passing yards per game (357.4) and touchdown passes (45). Taylor, a finalist for the Buck Buchanan Award, led the nation with 162 tackles, 13.5 stops per game and 96 assisted tackles. He also added 13 tackles for a loss, 1.5 sacks, four breakups, two forced fumbles and one quarterback hurry. 2017 AFCA Football Championship Subdivision Coaches’ All-America Team - First Team Offense Pos Name Ht. Wt. Cl. School Coach Hometown (High School) WR Davion Davis 5-11 180 Jr. Sam Houston State K.C. -
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. -
TITLE PAGE Neihardt's Ghost Dance: the Literary Creation of Black Elk
TITLE PAGE Neihardt’s Ghost Dance: The literary creation of Black Elk and Lakota Religion by Robert DeBarba M.A. (Hood College) 2019 THESIS / CAPSTONE Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in HUMANITIES in the GRADUATE SCHOOL of HOOD COLLEGE May 2019 Accepted: ______________________ ______________________ Dr. Amy Gottfried Dr. Corey Campion Committee Member Program Director ______________________ ______________________ Dr. Corey Campion Dr. April Boulton Committee Member Dean of the Graduate School ______________________ Dr. Jay Harrison Capstone Advisor i STATEMENT OF USE AND COPYRIGHT WAIVER “I do authorize Hood College to lend this Thesis (Capstone), or reproductions of it, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research.” ii ABSTRACT Native American ceremonies are an integral part of understanding indigenous culture. In the early 1900’s, John Neihardt attempted to better understand the Lakota culture by interviewing Black Elk about the Ghost Dance of 1890. Originally, Neihardt’s intention was to use the information he gathered as a backdrop to his impending novel. Instead, in 1930, he wrote Black Elk Speaks, which was based on the interview of Black Elk on Lakota Culture. Originally, the book was touted as a lens into authentic Native American religion; information that was traditionally internal was made available to outsiders. Throughout decades the book has been accepted as a valuable primary source of indigenous culture. The Lakota Ghost Dance filled a religious void in Lakota culture that resulted from generations of oppression of tribal members by Anglo Americans. -
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. -
Maddra, Sam Ann (2002) 'Hostiles': the Lakota Ghost Dance and the 1891-92 Tour of Britain by Buffalo Bill's Wild West. Phd Thesi
Maddra, Sam Ann (2002) 'Hostiles': the Lakota Ghost Dance and the 1891-92 tour of Britain by Buffalo Bill's Wild West. PhD thesis http://theses.gla.ac.uk/3973/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] `Hostiles':The LakotaGhost Danceand the 1891-92 Tour of Britain by Buffalo Bill's Wild West. Vol. II Sam Ann Maddra Ph.D. Thesis Department of Modern History Facultyof Arts University of Glasgow December2002 203 Six: The 1891/92 tour of Britain by Buffalo Bill's Wild West and the Dance shovestreatment of the Lakota Ghost The 1891.92 tour of Britain by Buffalo Bill's Wild West presented to its British audiencesan image of America that spokeof triumphalism, competenceand power. inside This waspartly achievedthrough the story of the conquestthat wasperformed the arena, but the medium also functioned as part of the message,illustrating American power and ability through the staging of so large and impressivea show. Cody'sWild West told British onlookersthat America had triumphed in its conquest be of the continent and that now as a powerful and competentnation it wasready to recognisedas an equal on the World stage. -
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.