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THE HISTORY OF ROCKY BOY POW
WOW
The very first
Rocky Boy Pow-wow was in August 1964 and has continued every
year since then the first weekend in August. Therefore, this
year is Rocky Boy's Indian Reservation's 42nd Annual Pow-wow.
The origin of the word "Pow Wow" comes from a
mispronunciation of the Algonquian word that referred to a
gathering of medicine men and spiritual leaders. The term
became used for any sort of large gathering of Native
Americans, including celebrations that many tribes held for
successful hunts or harvest, weddings, or any other purpose.
For many years, even into the 1920s, many such gatherings
were frowned upon or even banned by the government. At the
same time, there was a concerted effort to remove all traces
of Native American culture and heritage. As a result, many
tribal customs for specific ceremonies or gatherings were
lost, and many tribes decreased dramatically in size. Thus,
in the 1930s and 1940s, when gatherings were once again
tolerated, many tribes began to share their customs with
each other and to open up their gatherings to members of
other tribes, in order to preserve the culture. The end of
World War II is seen by many as a turning point, when many
Indians returned as veterans and heroes. The civil rights
movements of the 1960s also served to help re- build a sense
of identity and pride. It was around this time that the
powwow took on its modern form, and most of the dance styles
were established as distinct categories. Pow-wows have grown
considerably in number and popularity since that time, and
can be found in all parts of the United States and Canada
(and often in other countries as well) every weekend of the
year.
THE POW-WOW TODAY
The modern day
Pow-wow can be traced to the Grass Dance societies that
formed around the turn of the century. The Grass Dance is
known by many different names among the various tribes and
has an interesting history. It can be traced back to the war
dances and victory celebrations of an earlier era Originally
only experienced warriors could belong to the Grass Dance
Societies. Throughout the years, the Pow-wow has evolved
into a tradition exemplifying generosity and giving. As we
come into the circle with honor and respect for each other
and the drum. Pow-wow time gives us a chance to reflect on
who we are as Indian people and to celebrate our rich
heritage. Pow-wow singers are held in high regard by our
people as the keepers of our songs. We are grateful that our
young people continue to learn the old songs. As different
tribes gathered together, the use of vocables (words that
are a combination of certain sounds without regard to
meaning) evolved so singers could share songs. Today, some
songs are sun completely in vocables. Yet these songs like
songs with words still hold significant meaning to those who
know them. Songs are still being composted today. Songs
still exist from pre-colonial times as well as recent wars.
War, bravery, love and friendship are a few favorite themes.
THE GRAND ENTRY
Although pow-wows
may differ, depending on the location of type, the following
is a system used by many pow-wows throughout the plains
area. Many pow-wows use the following format: First the
eagle staff is carried into the circle, followed by the
American, Canadian, State and Tribal flags. The titleholders
from tribal pageants and (if present) Miss Indian America
candidates. Other invited dignitaries are next, followed by
the men traditional dancers first, then grass dancers and
fancy dancers. Women come next, followed by traditional
dancers, fancy shawl and jingle dress dancers. Next are the
Teen boys, then girls and then Jr. boys and girls in the
same order as the adults. The last to enter are the tiny tot
boys and girls. The dancers dance sun wise clockwise around
the arbor, showing the audience that they are ready to begin
showing their outfits (the term costumes is seen by some as
derogatory) and their dance steps letting them who watch
know whom they are and what they can do. (Note: This may
vary from tribe to tribe or Pow-wow to Pow-wow.) When the
Grand Entry song ends, there is a flag song, an equivalent
of the national anthem. Then there is an invocation blessing
the gathering. After the eagle staff (always positioned
above the American Flag to signify the first nation) is tied
to the pole in the cent of the arbor or brought to the
announcers stand. A welcome is extended and then there may
be a few words by various dignitaries. When this portion of
the ceremony is completed the dancing can begin.
SONGS
The Flag Song
is the Indian equivalent of the national anthem. In recent
years, nearly every tribe has composed a Flag Song,
dedicated to the men and women who have served in the armed
forces in various wars. There is no dancing to this song,
but all stand in respect. Certain women may traditional
dance in place for their father, brother, or son who is or
was a combat veteran. The flag song is sun at the beginning
of most Indian activities. The Honor Songs are special songs
dedicated to honor a particular person or persons. It is
customary to stand in silence to show respect when an Honor
song is sung. The Give-away song is one way of honoring
certain individuals or groups among Indian people. Here the
gesture is more important than the value of the gift. It is
an honor to give and it usually takes great preparation.
THE EAGLE FEATHER
The eagle
feather is dropped during a pow-wow everything comes to a
halt until the feather is honored. Eagle feathers are
treasured and precious to Indian people. Historically and
traditionally, it is the right of any wounded warrior to
retrieve a fallen eagle feather. The eagle feather is the
spirit of a fallen warrior and can only he matched in power
by the same. Recording and photographing such a ceremony is
strictly forbidden. Those tribes that adhere to strict
traditions and customers will allow only wounded veterans to
clarice and retrieve the spirit of the father. The pow-wow
of today uses four veterans, representing the four cardinal
directions to dance around the feather. The first two versus
are straight versus with no down beat, paying respect to the
Creator and the spirit of the fallen warrior. The next four
versus will have the dancers charge the feather on the
downbeat. The downbeat represents the cannon and gunfire in
any song, so in the case of this ceremony, the veterans are
charging the gunfire of the enemy. Each will charge with his
right hand extended to "touch" or take coup. Those who have
not taken coup will use an eagle feather fan, because they
are not strong enough to touch the spirit. Again, this is
very important to follow, because of the grave consequences
to be paid if one insults the spirit. After the sixth
versus, the honored veteran will pick the feather up with
his left hand and give a war whoop to acknowledge the
capture of the spirit of the feather. The veteran then
returns the Eagle feather to its owner and the owner give
him a gift in appreciation of the services that the veteran
has performed for him.
HEAD STAFF
To be selected
as one of the Head People is a high honor. The head people
are selected not only for ability, but also for personal
qualities and actions.
THE HEAD MAN AND WOMAN DANCER
Guide and
direct all the dancers throughout the pow-wow weekend. The
other dancers wait in respect until the headman and woman
dancer start each song.
THE HEAD SINGER
Of each drum
must know all the songs to be sung. The head singer either
starts the drumming/singing or selects another "lead" singer
to begin the song. All other singers/drummers must wait for
the signal for them to join in.
THE HEAD VETERAN
Has the honor
of carrying in the Indian Flag at the very front of the
precession of the dancers during Grand Entry. He also has
the responsibility of "Retreating the Colors" at the end of
each dance session.
DANCERS
Most dancers
seen at Pow-wow today may have had different meaning in
earlier days, but have evolved into the social dances of
today. Although, dance style and content have changed, their
importance to Indian People has not. You will see no
religious dancers at the Pow-wow today.
THE TRADITIONAL MALE DANCER
Keeps in older
dance style and expresses his own individuality by combining
both con- temporary and traditional styles in costumes.
Although dance style varies depending on the individual,
tribal and/or regional ties, there are certain items of
apparel, which are common among most traditional male
dancers. The traditional dancers execute a very graceful and
dignified dance closely resembling styles of early days. The
Traditional dance style (also called Contemporary
Traditional) emerged from the Northern Plains. It is based
on the same traditions as Old Style, but became identifiably
different sometime around the mid 1900s. Traditional outfits
tend to use more modem materials, more feathers and ribbons,
and larger bustles than Old Style outfits. The dancing
itself tends to involve more movement and action. The
dancing often resembles two things: the movements of
animals, particularly birds, found in the Northern Plains;
and the movements of a warrior showing off his ability and
accomplishments in battle.
MEN'S TRADITIONAL SOUTHERN
STRAIGHT
The Straight
Dance comes originally from the Southern Plains, and has its
origins in the dances of the warrior societies of several
tribes. Often called the Indian Tuxedo, the Straight outfit
looks much more tailored than those of other dance styles.
There are few Feathers and no bustles, which are instead
replaced with cloth and ribbon work, giving the outfit a
very sleek, clean appearance. To- day, many bright colors
and silver go into the outfit, providing the flash that is
found in other outfits. Straight Dancing tends to be
smoother and involves less motion than other dance styles.
It reflects the older, experienced warrior moving with the
grace and ease of long practice as he surveys everything
around him and sees that it is good.
MEN'S FANCY DANCE
Is modem style
dance that has its roots in old grass dance. This exuberant
style of dance is fast paced and features elaborate footwork
and high jumps. Fancy dancers wear sheep or sleigh bells to
help maintain the rhythm of the dance and two feather
bustles worn on the neck and back. These were at one time
made of eagle feathers. Today, many are made of white and
dark eagle feathers decorated with small colorful feathers
called hackles. Men's Fancy Dance has its origins in the old
Wild West shows of Buffalo Bill Cody and others. The
managers of these shows felt that the dancing being done by
the Indians in their shows was not interesting enough to
hold the attention of the spectators, so they had the
dancers create more colorful outfits and dance faster and
with more motions. Since then, Fancy Dance has grown
considerably, in large part with the help of contest
powwows. The dance has become more and more colorful and
faster over the years, with larger bustles, the additional
of ribbons, and, of course, all manner of dance steps
intended to outdo all other dancers. The Fancy outfit is
distinguished by its two large, colorful feather bustles on
the dancer's back, and the dance by larger motions and spins
not seen in other dance styles
MEN'S
GRASS DANCE
Feathers fluid,
graceful, sweeping movements. Their colorful outfits are
hinged with yarn, ribbon or cloth. This dance style
originated from the plains. The dancers move as if they are
smoothing down the tall grass; hence, the name. There are
several stories about the origin of Grass Dancing. Many
people say that the dance started among the young men who
where sent out to flatten the prairie grass to form a dance
arena. Rather than just stomp down the grass, they turned
the chore into a dance. It is also said that they tied
bundles of sweet grass to their belts, and tried to imitate
the movement of the tall prairie grass swaying in the wind.
Thus, in the dance today, you can see the dancers swaying
and moving in the "wind," as well as seeing motions that
look like they are moving through or stomping down the
grass. The Grass Dance outfit today is far more colorful
than it has been in the past. The original bundles of grass
have been replaced with ribbons, yarn or clothe strips. When
dancing, the dancers try to get the entire fringe in their
outfit moving constantly in the swaying motion of the
prairie.
WOMEN'S TRADITIONAL DANCERS
Feet never
completely leave the ground, which symbolizes women's close
ties with mother earth. When Indians acquired cloth from
white traders, they began to make much of their clothing
from it. Many eastern woodland, plains and southwestern
people make cloth shins and blouses, leggings, etc. that are
elaborately decorated with ribbons and silver buttons.
Ribbons are cut, folded and appliquéd to create geometric or
abstract floral designs. Our people still make beautiful
dresses out of buckskin. The most treasured buckskins are
Indian tanned. Using traditional methods, the Indian tanning
process makes the hides very white and soft as velvet. A tan
color is achieved by smoking the hide. When the dress is
finished, many hours of beading begins. Beading ranges from
fully headed tops (common among the Sioux) to headed strips
across the front shoulders and around the button of the
dress (Southern Plains). The Ladies' Traditional style is
actually a combination of four styles: Northern Buckskin,
Northern Cloth, Southern Buckskin, and Southern Cloth. While
similar in many ways, each of these styles has its own
distinct style of dress and dancing. Like all dance styles,
these have strong roots in customs and traditions that have
been passed down for years. The outfits are based on
traditional clothing from specific tribes, and thus there is
a great deal of variation from one dancer to the next. The
dancing itself also varies widely based on the tribe
represented, but always focuses on the grace and dignity of
the dancer. The outfit often includes fringe on a shawl or
the dress itself, along with other accessories, which must
move in perfect time to the song.
WOMEN'S
FANCY DANCE
This style
features very elaborate footwork and lots of beadwork. In
the fancy dance categories, it is very important to know all
the songs to stop exactly on the last beat. The women wear
hinged shawls and try to match all accessories. Ladies'
Fancy Shawl is the newest style of ladies' dancing, and is
similar in several ways to Men's Fancy Dance. It emerged in
the 1950s and 1960s (and became vastly more popular over the
next 20 years) among young women who were looking for a more
stylistic (and energetic) dance style. The dance is light,
graceful, and very athletic. The dancers move much like a
butterfly, and their outfits are bright and colorful to
match. Particular emphasis is given to the shawl, which is
worn over the shoulders and spread out along the arms like
wings.
WOMEN'S JINGLE DRESS
Dancers were
very simple but beautiful cut cloth dresses decorated with
tin cones that jingle as they move. The most sought tin
cones are the ones made from chewing tobacco tin lids. This
style of dance had its beginnings in a young Chippewa
woman's dream, which grew into society. There are several
stories about the origin of the Jingle dress, but they
mostly agree that it was first seen in a dream, and was
intended as a way to heal those who were ill. As one
tradition tells it, a medicine man's granddaughter be- came
very ill. Her grandfather had a dream that showed him how to
make the dress and which instructed him to have her dance in
it. When the dress was made, she wore it and danced, very
weakly at first, but becoming stronger as she went until she
was healed. Today, Jingle Dance specials are sometimes
requested by those with friends or relatives who are sick.
The dress is made with a large number of tin lids
(originally from the tops of snuff cans) rolled into cones
and attached to the dress. Some traditions call for 365
cones, one for each day of the year. As the Jingle Dancer
moves, her dress makes a very distinctive sound.
The 2006
Chippewa Cree Events Committee has added several other dance
style categories as a sign of respect and hospitality to our
visiting tribes. The Committee added competition in the
Men's Prairie Chicken, Men's Crow Belt, Men's Southern
Straight and Women's Elk Tooth Crow Style.
POW-WOW ETIOUETTE
Etiquette for
Spectators and Newcomers Listen to the Master of Ceremonies
(MC). If you do nothing else on this list, at least do this.
The benches in the arena are normally reserved for dancers.
Be prepared to provide you own chairs. Ask permission to
take photos or videos of individual dancers (shots of groups
or the arena as a whole are usually fine). Listen to the MC
for times that you should not take pictures. Always stand
(if able) during social honoring songs. These will be
announced by the MC. Gentlemen should also remove their
hats. All pets and food should be kept outside the dance
arena at all times, even between dance sessions. Only dance
during intertribal songs or when you are invited to dance.
Do not dance during competition. If you have a question,
ask! If you are honestly interested and curious, most people
will be happy to answer your questions.
ETIQUETTE FOR DANCERS
Listen to the
MC and most importantly listen to the Arena Director.
Respect the positions of the head dancers. Don't dance
before the head dancers start dancing. Seats on the benches
may be reserved with a blanket. Never move or sit on someone
else's blanket without permission. Be on time and ready to
dance in full regalia. Dress properly in appropriate dance
clothes (if you don't know what's appropriate, ask). Respect
the protocol of the group sponsoring the powwow. This often
includes dancing around the arena in a particular direction.
Stand for all specials and other honoring songs. Certain
items should only be used by those who are qualified
according to the traditions of their tribe. These include
war bonnets, rattles, whistles, and religious items.
Firearms (even
non-operational ones), lances with points and unsheathed
knives should not be carried while dancing for safety
reasons. If you feel you must carry one of these items,
speak with the Arena Director ahead of time. All specials
must be coordinated with the MC. You may be required to have
it at a certain time or dance session. This is to benefit
the entire powwow, so please be understanding.
Never come
to a powwow with alcohol, under the influence of drugs or
intoxicated. |
