The LIED Center for Performing Arts Presents…

The Nebraska Educator’s Guide to American Indian

Singing and Dancing

In this photo: Tom Frenchman, II, Men’s Traditional Dancer Taken at the Lincoln Indian Pow-wow, August, 2008 by Joni Stinson.

Making Connections to the Classroom

Designed as a supplement to: The Drum is Thunder and the Flute is the Wind Teacher’s Guide

By: The Ixtlan Education Group

Table of Contents Introduction: Striking Flint and A Night to Remember Background Information Guidebook Objectives Connection One: A Framework for American Indian Singing and Dancing

The Tribal Circle The American Indian Religious Freedom Act of 1978 History and Practice of Pow-wows Singing and Dancing as Artistic Expression and Cultural Interaction The Drum is the Thunder, The Flute is the Wind

Connection Two: The Nebraska Tribes Eastern Nebraska:

The Omaha Tribe The Ponca Tribe The Santee Sioux Tribe The Winnebago Tribe

South Central Nebraska: The Pawnee Nation

Western Nebraska: The Oglala Sioux Tribe The Rosebud Sioux Tribe

Connection Three: Seven Lessons for the Classroom Lesson One: Entering the Pow-wow Arena Lesson Two: The Drum, Singing Styles, and Songs Lesson Three: Becoming a Dancer Lesson Four: The Audience as Participants Lesson Five: Honoring the Ancestors Lesson Six: Respecting the Earth Lesson Seven: Bringing It All Together for One World

Connection Four: The Nebraska Standards and the National Arts Standards Resources

Acknowledgements

Author’s Bio

Introduction

Striking Flint… Any body of work produced by an artist or any lesson taught by an educator, most often feels in the beginning, as if one is striking flint to ignite a spark in a field of grass. This task may seem overwhelming and even, at times, impossible. During the spring of 2010, my children and I witnessed a fire lighting ceremony in northern Wisconsin. It began right before sunrise in an enclosed structure, much like a shed with a large opening at the top. As we gathered that morning, the firekeepers, men who were presiding over this ceremony, cleared a space toward the center of this structure. My children and I stood to one side with many others. Several firekeepers stood in a circle and began to hit sticks together, rhythmically, as if they were beating on a drum. They also started singing a beautiful ceremonial song of renewal. One of the men had the responsibility of lighting the fire by striking flint together until he was able to ignite a bundle of grass into a smoldering flame. He blew on the grass until it burned higher, then added small pieces of wood so that the flame grew large enough for more wood to be added, until finally, he had a great fire burning brightly. The song ended once this was achieved, then all the men added their rhythm sticks to the sacred fire…one by one. For four days, the ceremonial fire was kept burning until the spring ceremonies were completed. In many Native cultures, the gift of fire came from the Thunder Beings, who are the givers of life and death. This gift was to be kept in a sacred manner and was never to be abused or discarded. It was through fire that the people were able to cook their food and to stay warm during the cold seasons. The key in striking flint to ignite a flame is to do so, patiently, and relentlessly. It is a process that is well understood in the act of creation, as well as in teaching. The goal being to bring an ideal to life through art or to ignite the imaginations of young minds that are placed within our care, much like the firekeepers whose responsibility it is to bring the sacred fire into this universe. And, as such, it is indeed a beautiful and mysterious process to behold. One that requires our total concentration and commitment as artists and educators, just like the firekeepers. A Night to Remember… In 1981, Kevin Locke came to the Omaha Indian Reservation to participate in the Omaha Tribal Pow-wow in Macy, Nebraska. Even then, many people were aware of his talents as a Hoop Dancer and a Native American flautist and all were anxious to see and hear his performances. I, too, was caught up in that excitement, especially the night when he played his flute

with two of my Omaha relatives, men by the names of Grandpa John Turner and Kenny Blackbird. All three spoke of how they acquired their knowledge of the flute through stories shared by elders when they were young men. Then each man began to play the traditional love songs on their flutes…one by one. What struck me that night was the enchantment that was created by Kevin and my Omaha relatives during that entire performance. I felt so lucky that I was there to witness this historic event and that I was able to record it on audiotape. For years, my parents and I enjoyed listening to this recording over and over until at last it mysteriously disappeared from their room, much to our dismay. After that, I purchased Kevin’s flute music on tape. Then I often read about his performances at various intertribal pow-wows and conferences. Later, I started hearing about his travels to other countries to perform and to share his cultural knowledge and wisdom. Kevin is world-renowned as a dancer, storyteller, and flute player, and most especially as a teacher for all the young people. And, in this light, I am most humbled and honored to prepare the Nebraska Educator’s Guide to American Indian Singing and Dancing: Making Connections to the Classroom (K-12) for the LIED Center for Performing Arts and to once again celebrate the extraordinary talents of Kevin Locke and the Native Dance Ensemble. Wibthahon! Pilamaya! Thank you! Renee Sans Souci Omaha Tribal Member Teacher, Poet, and Cultural Consultant

Background Information The Nebraska Educator’s Guide to American Indian Singing and Dancing: Making Connections to the Classroom (K-12) is an introductory guide intended to help all educators understand the purpose of Native celebrations, like pow-wows, which involve singing and dancing. This guide seeks to present information about American Indian singing and dancing as an ancient art form based on a philosophical perspective of the tribal circle or sacred hoop. Connection One: A Framework for American Indian Singing and Dancing has five sections. The first provides a brief explanation of the Tribal Circle and how tribes have functioned within this circular framework. The four other sections are on the American Indian Religious Freedom Act of 1978, History and Practice of Pow-wows, Singing and Dancing as Artistic Expression and Cultural Interaction, which leads into the last section The Drum is the Thunder, The Flute is the Wind Teacher’s Guide. Connection Two: The Nebraska Tribes provides summaries about the federally recognized tribes of Nebraska. In Eastern Nebraska, there are four tribes: the Omaha, the Ponca, the Santee, and the Winnebago. In South Central Nebraska, the Pawnee Tribe once lived in this area until relocated to Oklahoma. In Western Nebraska there are two tribes: the Oglala Sioux Tribe and the Rosebud Sioux Tribe (whose reservations are based in South Dakota). There are also many other tribes represented throughout the state, particularly in the urban areas, and out of respect for the diversity of tribes, this guide does not claim to be a strict representation of all tribal culture in Nebraska. Connection Three: Seven Lessons for the Classroom is about making connections to American Indian singing and dancing through seven lessons that are based on the tribal circle framework of the pow-wow arena and the metaphor of One World that is demonstrated in The Drum is the Thunder and the Flute is the Wind Teacher’s Guide. Connection Four: The Nebraska Standards and the National Arts Standards will help educators to establish connections to these education standards. The Resources section provides links to tribes and other agencies for further information about American Indian Tribes in Nebraska.

Guidebook Objectives:

• To provide educators with a basic framework to understand how tribal people demonstrate their values and beliefs through artistic expression and interaction.

• To create an enjoyable experience for educators learning about the traditional forms of American Indian singing and dancing.

• To provide background information about American Indians in Nebraska. • To demonstrate the interconnectedness of all life on this planet through the tribal

circle or One World

Connection One: A Framework for American Indian Singing and Dancing

“All of the people have the same impulses, spirit and goals. Through my music and dance, I want to create a positive awareness of the Oneness of humanity.”

– Kevin Locke, Hunkpapa Lakota The Tribal Circle For thousands of years, the ancient symbol of the circle was used as the framework of organization for tribal systems: governments, villages, clans, homes, and even within the individual. The philosophy of the circle was also maintained within all artwork and artistic expression through singing and dancing.

To understand the significance of the tribal circle, it is important that educators become aware of how it is based on the connection of everything that exists in the universe. The tribal circle represents the balance of the masculine and feminine forces, such as the polar energies of the earth, etc. Around and within the tribal circle are the seven sacred directions, which are ingrained in American Indian thought and practice. The educator must imagine the tribal circle as a sphere, with the top half representing the Sky (the Above) and the bottom half representing the Earth (the Below), while around this sphere are the four cardinal directions, with the center of this sphere being the Seventh Direction, that which represents the here and now, or more specifically, the human being. Embedded in this circular teaching are also the benchmarks based on the Four Directions or Seasons, which represent the stages of life: Infancy, Youth, Adult and Elder. Some tribes refer to these stages as the Four Hills of Life. At each stage or benchmark, Native people learn how to conduct their lives in accordance with the tribal circle whether in ceremony, tribal meetings, singing, dancing, or everyday life. The American Indian Religious Freedom Act of 1978 From the time of first contact, European thought and customs impacted indigenous systems of education, philosophy, and culture. Most ceremonial practices that were held as integral to the development of the mind, body, and spirit of Native people, were outlawed by the United States Government during the 1800’s, and were taken underground for safekeeping. During the 1920’s, tribal dances and ceremonial practices that were regarded as non-threatening, were allowed to be practiced in limited forms. Through a joint resolution of Congress, the passage of the American Indian Religious Freedom Act of 1978, was created to protect and preserve the traditional religious rights and cultural practices of American Indians, Eskimos, Aleuts, and Native Hawaiians. This act allowed Native people to openly reclaim, teach, and practice traditional forms of spirituality without fear of government oppression.

Natives and non-Natives throughout North America hold the spiritual forms of singing and dancing in ceremonies, such as the Sundance or Lodge Dance, in great respect. They are currently restricted to the spiritual teachers and leaders that maintain these ceremonial practices and to the individuals who adhere to such teachings. They will not be discussed in this guidebook. History and Practice of Pow-wows

Pow wows are social events where American Indian people gather at a certain times and places for various reasons for celebration. There are many pow-wows held throughout the year in the United States and Canada. There is some uncertainty about the origination of the word pow-wow. Some sources say the word pow-wow is believed to have its origin from the Algonquin language and was pronounced “pauau.” Another possible meaning is from the Pawnee word pa-wa, which means “to eat.” Pow-wows involve dancing in a large circle or arena that may be located indoors or outdoors. But no matter where the pow-wow arena is located, the principles of the tribal circle or sacred hoop still apply. All participants of the pow-wow are usually aware of these principles and are respectful of them. Historically, Native people often held dances and gatherings to celebrate the harvest time, successful buffalo hunts, and returning warriors from battle, etc. These celebrations were times for individuals to display their artistry in quillwork and clothing design, and to demonstrate dancing and singing abilities. They were also times of feasts and giveaways, and naming ceremonies. Creating alliances for trading and the exchange of information were very much a part of these gatherings, as well. Buffalo Bill’s Wild West Show had a significant impact on how the modern pow-wow has evolved. When the Wild West Show took on American Indians to perform in theatrical depictions of the American West, Buffalo Bill had American Indians enter the show in a Grand Entry and then perform exhibition dances by categories. The Grand Entry and the categorical processes are still practiced in intertribal pow-wows to date. Whenever there is a pow-wow taking place in a community, it will be advertised through posters, flyers, and public service announcements. The general public is invited to attend and participate, and oftentimes there is an admissions fee. There are rules involved when attending a pow-wow. It is good to ask questions of pow-wow officials, such as the Pow-wow Committee or the Arena Directors. It is highly recommended to attend a pow-wow with someone who is very familiar with them. There are pow-wows that have been held in one location, on a reservation for example, for hundreds of years, while there are others that are newer and may be held in city locations. There are several pow-wows held in Nebraska each year. The four tribes of Nebraska host their own pow-wows each summer, while other pow-wows take place in the urban areas of Lincoln, Norfolk, and Omaha. These celebrations represent only a small portion of the hundreds of pow-wows held throughout North America.

Singing and Dancing as Artistic Expression and Cultural Interaction In North America, countless generations of Native people have maintained forms of singing and dancing that are still practiced today. These forms, which are based on the tribal circle framework, vary from region to region, and tribe to tribe. Each singer belongs to a drum group, each dancer is a part of a category of dance, which there are several, and each member of the audience is also a part of this collective experience because at any time of the dance or pow-wow they are expected to participate. Most American Indian singers and dancers would not regard themselves as “artists” or “performers” like opera singers or ballet dancers. Singing and dancing is a part of the tribal identity or more specifically, a family or clan identity, which is not separate from the whole. Songs and dances are passed down from one generation to the next, and in many instances, may even skip a generation, to go to another. There are Native American Dance Troupes in the United States and Canada, such as The Kevin Locke Native Dance Ensemble, which performs throughout the year, worldwide. Also the Many Moccasins Dance Troupe has performers of multiple ages. The dance troupe is based in Winnebago, Nebraska and performs at schools, colleges, conferences, fairs, and powwows. Each generation produces its talented composers, who create new songs to be introduced to the tribe and to all the Native Nations. Talented dancers will often introduce a new step or modification within their dance category, which is then shared and absorbed by other dancers throughout the country. Artistic expression in singing is displayed in how well a drum group sings together and maintains the appropriate drumbeats, according to the type of song that is sung. A drum group that knows all the appropriate songs for any occasion is held in great respect and will be invited to sing at community dances or at intertribal pow-wows all over the country. Individual dancers display their artistic expression through their regalia and how well they dance in their category. Experienced dancers will know the songs and the dances that go with each type of song. They will know how to coordinate their dance steps to the beat of the drum in their own unique style of movement. During a community dance or intertribal pow-wow, the audience has a dual role as observer and participant unlike a theatre setting where the audience is separate from the performance. The circle or arena is inclusive of everyone who attends and creates a sense of belonging to the entire experience. In the past, Native people celebrated their uniqueness as tribes through their songs, dances, and ceremonies but they also held social events where they created relationships with other tribes and nations.

Such social events continue to bring tribal people together, to share and to learn. The hoop dance is often performed at certain times to entertain the audience. In this way, these events continue to serve as opportunities for cultural interaction with all world nations. These days, it is not unusual to see dancers and singers from Hawaii, Mexico, Central America, or New Zealand perform at an intertribal pow-wow. The Drum is the Thunder, The Flute is the Wind In The Drum is the Thunder, The Flute is the Wind Teacher’s Guide created by Kevin Locke and the Ixtlan Education Group, the vision of One World that “only through a greater knowing can we live together in harmony, accepting and celebrating what makes us one as well as what makes us unique” provided in this guide are outlined in four lessons:

1) Original instruments in Native culture emulate the elemental forces of nature. Native music emulates nature. It tells of birth, growth, maturity, and death – of both our physical selves and of the cycle of daily moments in life: relationships, beliefs, and all of the things that touch us with commonality.

2) Indigenous people in North America crossed cultural difference without a

common language. The need to connect with others and communicate with understanding is universal. Within the Native American culture there are hundreds of languages, and through gesture and signs people have been able to communicate without having one dominant language. There is a unity and sense of cooperation with sign language…it is a language of beauty as well as function.

3) The Spirit of the Eagle reflects the nobility of the One Human Race. The

Spirit of the Eagle is a Spirit of Ascendancy. The Eagle soars high into the sky, and from there has a vantage point that shows no borders or boundaries, allowing the earth and its people to be viewed as one. Humans, too, have within themselves a desire to soar, a higher self toward which we yearn to aspire. As eagles rise on their wings, humans rise on the aspect of character.

4) The Hoop Dance symbolizes how diverse cultures can work together in One

World. The beauty of dance is often discovered in the message it presents. The Hoop Dance is just such a dance, one of message and of beauty. It is a metaphor for the process of regeneration apparent in our lives in many guises. The four colors of the hoops, black, red, yellow, and white are symbols of interdependence and unity – the four human races, the four seasons, the four directions of the compass. These hoops speak of renewed creation for all of the universe.

Connection Two: The Nebraska Tribes

The land is sacred. These words are at the core of your being. The land is our mother, the rivers our blood. Take our land away and we die. That is, the Indian in us dies.

— Mary Brave Bird, Sicangu

This section on the Nebraska Tribes provides a summary of each tribe in Eastern Nebraska, South Central Nebraska, and Western Nebraska in the following manner:

1. Brief History 2. Present Location of the Tribe 3. Pow-wow Time 4. Contact Information

Eastern Nebraska: The Omaha Tribe 1. Brief History: The Omaha Tribe of Nebraska and Iowa is a federally recognized tribe that was originally part of a larger woodland tribe, which once lived near the Ohio and Wabash rivers over four hundred years ago. As the tribe migrated west it split into what became the Omaha tribe, the Ponca tribe, the Quapaw tribe, the Kansa tribe, and the Osage tribe. In this split, the Omaha became known as moving “Against the Current.” The Omaha were believed to have ranged from the Cheyenne River in South Dakota to the Platte River in Nebraska. By the time the Omaha settled near the Missouri River, in what is now northeast Nebraska and northwestern Iowa, they had acquired corn and adopted earth-lodges and tipis, which were obtained from the Arikara, the Pawnee, and the Lakota. The Omaha speak a Siouan language that is virtually the same as the Ponca language. 2. Present Location of the Tribe: The Omaha tribe currently resides on the Omaha Indian Reservation in northeastern Nebraska and northwestern Iowa. The Omaha Indian Reservation occupies the southern part of Thurston County and the northeastern part of Cuming County, Nebraska, but small parts of the reservation extend into the northeast corner of Burt County and across the Missouri River into Monona County, Iowa. 3. Pow-wow Time Each year, the Omaha Tribe hosts the Hedewachi Harvest Celebration Pow-wow in Macy, Nebraska. This pow-wow usually takes place near the first full moon in August. The pow-wow grounds’ has a midway for food and arts and crafts vendors and is located

near the center of town. As the originators of the Omaha dance, which is now common to most of the plains tribes, the Omaha tribe welcomes everyone who comes to visit and participate in the annual celebration. The Omaha Harvest Celebration is traditionally a time of homecoming for many Omaha tribal members who live in many areas of the United States and throughout the world. 4. Contact Information: Address: Omaha Tribe of Nebraska, P.O. Box 368, Macy, NE 68039 Phone: (402) 837-5391 (Always call and confirm events.) Web Address: None Admission Fee: Yes The Ponca 1. Brief History: The Ponca Tribe of Nebraska, a federally recognized tribe, was once a part of a larger woodland tribe that migrated from the area of the Ohio basin around 1600. They lived around the mouth of the Niobrara River in northern Nebraska until they were forced to move to Oklahoma by the United States Government in 1877. Many perished during that first year after being forced marched to Oklahoma in the winter and then from the hot climate of the location, which brought on malaria and food shortages. Chief Standing Bear was one of many who protested the tribe’s removal. After arriving in Oklahoma, his son Bear Shield fell ill and as he lay dying, he asked to be buried in his homeland near the Niobrara. Standing Bear promised to bury his son in their ancestral lands and left the reservation in Oklahoma to travel back to Nebraska. Standing Bear’s journey to return his son’s remains to northern Nebraska led to his arrest and famous trial in May of 1879. In this trial, it was established that Chief Standing Bear was found to be a “person within the meaning of the law” of the United States and was found to have certain rights. 2. Present location of the Tribe:

The Ponca are currently divided into two federally recognized tribes: the Ponca Tribe of Nebraska, which is headquartered in Niobrara, Nebraska and the Ponca Tribe of Indians of Oklahoma, which is headquartered in White Eagle, Oklahoma, a few miles south of Ponca City. The Ponca Tribe of Nebraska has office sites located in six of these areas: Niobrara, Norfolk, Lincoln, and Omaha, in Nebraska, and Carter Lake and Sioux City office in Iowa.

3. Pow-wow Time: The Ponca Tribe of Nebraska hosts their annual Northern Ponca Pow-wow, each year in August at the Agency Grounds in Niobrara, Nebraska. The pow-wow has vendors for food and arts and crafts. The event is open to the public and all dancers and singers are welcome. 4. Contact Information:

Address: Ponca Tribe of Nebraska, P.O. Box 288, Niobrara, NE 68760 Phone: (402) 857-3519 (Always call and confirm events.) Web Address: http://www.poncatribe-ne.org Admission Fee: Free The Santee 1. Brief History: The Santee Sioux Tribe of Nebraska is a federally recognized tribe that was a woodlands tribe originally from Minnesota. They are known as the “Frontier Guardians of the Sioux Nation.” The Santee division of the Sioux Nation was called the Dakota and consisted of four bands: the Mdewakantonwan, Wahpeton, Sissetonwan and the Wahpekute. When settlers began moving into Minnesota, the Dakota Nation found their way of life disrupted. The Dakota people faced extreme deprivation and starvation due to corrupt U.S. officials withholding their provisions guaranteed through Treaties. In 1862, the Dakota leader, Little Crow had the bands prepare for conflict, which is known as the Dakota Uprising of 1862. In retaliation for the Dakota Uprising, 38 Santee were executed in Mankato, Minnesota, in December of 1862 on President Abraham Lincoln’s orders. This was [is] the largest mass execution in the history of the United States. The Santee were exiled to Crow Creek, South Dakota, then to Nebraska. 2. Present Location: The Santee Sioux Reservation is located in Knox County of north central Nebraska along the Missouri River. Nestled in beautiful rolling hills, it is bordered on the north side by Lewis and Clark Lake, and it encompasses an area approximately 17 miles long and 12 miles wide. The community of Santee is in the north central portion of the reservation. The Santee Sioux Tribe of Nebraska tribal headquarters are located in Santee, Nebraska. 3. Pow-wow Time: The Santee Sioux Tribe hosts their annual pow-wow in June of each year at the pow-wow grounds in Santee, Nebraska. The pow-wow has vendors for food and arts and crafts. The event is open to the public and all dancers and singers are welcome.

4. Contact Information: Address: Santee Sioux Tribe of Nebraska, 425 Frazier Ave, Suite 2, Niobrara, NE 68760 Phone: (402) 640-2705 (Always call and confirm events.) Web Address: http://www.santeedakota.org Admission Fee: Free The Winnebago 1. Brief History: The Winnebago, also known as the Ho-Chunk, origins are in Wisconsin. Their homeland lays between Green Bay and Lake Winnebago in northeast Wisconsin and also the area from Upper Michigan south to present-day Milwaukee extending west to the Mississippi. By 1840 the Winnebago had ceded their Wisconsin land. Facing numerous relocations by the U.S. Government many Winnebago remained in Wisconsin despite the efforts to remove them. In 1848 the Winnebago were sent north to the Crow Wing River in Minnesota. Eight years later, they were moved south to Blue Earth County, Minnesota where they remained until after the Sioux uprising in 1862. Although the Winnebago had no part in this, the government sent them to South Dakota and placed them with the Yankton Sioux on the Crow Creek Reservation. In 1865, the government created the Winnebago Reservation in northeast Nebraska, which was purchased from the Omaha Tribe. A separate reservation was also created in Wisconsin for the Winnebago who remained there. 2. Present Location: The Winnebago Indian Reservation lies in the northern half of Thurston County in northeastern Nebraska. The largest community on the Winnebago Reservation is the Village of Winnebago, which is located on the eastern side of the reservation. Reservation land holdings extend to Iowa to the east and are not accessible within the Reservation boundaries. There are approximately 1800 acres situated in Thurston County and in the Woodbury County area of western Iowa. 3. Pow-wow Time: Each year, the Winnebago Tribe hosts a homecoming celebration. The Winnebago Powwow is traditionally held the last weekend in July. The annual event is held in commemoration of Chief Little Priest and 75 of his Winnebago warriors who served with the U.S. Cavalry in 1865. The celebration also pays tribute to the men and women who have served in the United States armed forces since Little Priest's service. The pow-wow has vendors for food and arts and crafts. The event is open to the public and all dancers and singers are welcome.

4. Contact Information: Address: Winnebago Tribe of Nebraska, P.O. Box 687, Winnebago, NE 68071 Phone: (402) 878-2272. (Always call and confirm events.) Web Address: www.winnebagotribe.com Admission Fee: Yes South Central Nebraska: The Pawnee Nation 1. Brief History The Pawnee tribe once resided in south central Nebraska and was composed of four distinct bands: the Chaui "Grand"; the Kitkehahki, "Republican"; the Pitahawirata, "Tappage"; and Skidi, "Wolf". There were 12,000 of them in the 1830’s but through small pox and cholera epidemics, the number was reduced to about 630 by 1900. Pawnee villages were located all along the Platte, the Loup, and the Republican rivers. The Pawnee villages consisted of dome-shaped, earth-covered lodges with a diameter of 25 to 60 feet with a long entrance leading towards the East. Each lodge held from 30 to 50 people. The Pawnee maintained ancient corn bundles and ceremonies. The Pawnees unwillingly ceded their lands to the U.S. Government in 1833, 1848, 1857 and 1872. The move from Nebraska to what is now Pawnee County was completed in 1875. The Pawnee Indian Agency was established just east of the present site of the City of Pawnee and an Indian boarding school, called Pawnee Industrial School, was built. 2. Present Location: The Pawnee Nation of Oklahoma is a federally recognized tribe. The tribal headquarters is currently located in Pawnee Oklahoma. The 646 acre Pawnee Tribal Reserve is home for the Pawnee Tribe Agency offices. The old Pawnee Indian School buildings, most of which have been restored, are being used by the Tribe. 3. Pow-wow Time: The Dancers of the Plains Pow-wow Exhibition is sponsored by the Great Platte River Road Archway in Kearney, Nebraska. It started in June, 2009 and was billed as the Pawnee Homecoming. This year’s exhibition pow-wow was a celebration of the reunion of the Pawnee and the Arikara tribes. The pow-wow will continue next year in June at the Archway. There are vendors and food concession stands near the entrance. The Archway also has a gift shop, exhibits, and the Chuck Wagon Restaurant.

4. Contact Information: Address: The Great Platte River Road Archway, 3060 East 1st St., Kearney, NE 68847 Phone: 308-237-1000 or 877-511-ARCH Web Address: http://www.archway.org Admission Fee: Free Address: Pawnee Nation of Oklahoma, PO Box 470, Pawnee, OK 74058 Phone: 918-762-3621 (Always call and confirm events.) Web Address: http://www.pawneenation.org/home. Western Nebraska: The Oglala Sioux Tribe 1. Brief History: The Oglala Sioux Tribe is a federally recognized tribe. By the early 19th century, the Oglala Sioux, along with the six other groups of Lakota, had separated from each other. The Oglala Sioux Tribe was divided into three main bands: the Kiyuksa, the Oyuhpe and the head band or True Oglala. "Each of these bands are subdivided into smaller parties, variously named, usually designated by the name of their chief or leader.

In the years immediately following the Fort Laramie Treaty of 1868, these bands became increasingly polarized as leaders struggled with decisions relating to the continued American encroachment on their territory. Some bands chose to come in to the Indian agencies (forerunner to the reservations) where they received beef and other rations from the U.S. government. Other bands decided to remain out, attempting to continue the traditional life ways for as long as possible. The Wounded Knee Massacre occurred in 1890, where the U.S. Calvary killed 300 members of Chief Bigfoot’s band. In 1973, the American Indian Movement took over Wounded Knee to bring awareness to the injustices that were occurring everywhere in Indian Country.

2. Present Location: The Oglala Sioux Tribe lives on the Pine Ridge Indian Reservation (Oglala Oyanke in Lakota, also called Pine Ridge Agency), which is located in western South Dakota. Pine Ridge was established in the southwest corner of South Dakota on the Nebraska border, the eighth-largest reservation in the United States, larger than Delaware and Rhode Island combined. 3. Pow-wow Time: The Oglala Sioux Tribe hosts the annual Oglala Nation Pow-wow each year in August at the pow-wow grounds in Pine Ridge, South Dakota. There is a carnival, a rodeo, and a softball tournament, as well as numerous events, which are hosted by the Oglala Sioux

Tribe. Vendors and Arts and Crafts are available in the midway. The event is open to the public and all singers and dancers are welcome 4. Contact Information: Address: Oglala Sioux Tribe, P.O. Box 2070, Pine Ridge, SD 57770 Phone: 605-867-5821. (Always call and confirm events.) Web Address: http://home.comcast.net/~zebrec/index.html Admission Fee: Yes. The Rosebud Sioux Tribe 1. Brief History: The Rosebud Sioux Tribe is a federally recognized tribe. In the Lakota language, they are the Sicangu Oyate, which translates to the "Burnt Thigh Nation. There are a part of the Great Sioux Nation, also known as the Upper Brulé Sioux Nation. The Rosebud Indian Reservation was established in 1889 by the partition of the Great Sioux reservation created to cover all of West River, South Dakota in 1868. The Rosebud Sioux Tribal lands were originally reduced to a reservation by the U.S. Congress in the Act of March 2, 1889, which identified all the Lakota/Dakota/Nakota reservations in what is known as the Great Sioux Settlement. The boundaries were further reduced by subsequent Homestead Acts. The Sicangu people were moved five times before the Rosebud agency was finally established. Previous agencies were located on the Whetstone Agency near the Missouri River, White River Agency along the Big White River, Spotted Tail Agency at Rosebud Creek, and the Ponca Agency located near the west bank. The Sicangu Lakota (Rosebud Sioux) have the status of a sovereign nation which gives them the right to elect their own officials, regulate their own territory, manage tribal affairs, and create and enforce their own tribal laws. 2. Present Location: The Rosebud Sioux Reservation is located in south central South Dakota and borders the Pine Ridge Reservation on its northwest corner and the State of Nebraska border to the south. The reservation is located in Todd County. 3. Pow-wow Time: The Rosebud Sioux Tribe hosts it’s annual Rosebud Sioux Tribe Fair and Wacipi. This annual wacipi (powwow) features contest dancing, special contests, rodeo events, ball games, carnival, parade, garden contest, and a road run. Concession stands on the premises. The event is open to the public and all singers and dancers are welcome.

4. Contact Information: Address: Rosebud Sioux Tribe, 11 Legion Ave., Rosebud, SD 57570 Phone: (605) 747-2381 (Always call and confirm events.) Web Address: www.rosebudsiouxtribe-nsn.gov Admission Fee: Free

Connection Three: Seven Lessons for the Classroom "Be good, be kind, help each other. Respect the ground, respect the drum, respect each

other." - Abe Conklin, Ponca/Osage (1926-1995)

Lesson One: Entering the Pow-wow Circle or Arena

GRADE LEVEL: K-12 SUBJECT: Dance GOALS: 1. To gain knowledge of how dancers enter a Pow-wow

Circle or Arena. 2. To understand the importance of dance in Native

communities.

OBJECTIVES: Students will learn about:

1. The pow-wow format of the Grand Entry, or the beginning of the pow-wow.

2. The importance of listening to instructions from the

announcer about what is taking place in the arena. CULTURAL CONCEPT: American Indian dance is very important to the Native people of North America. It is a continual way of life and renewal. It is a way for Native people and all communities to come together to celebrate life and beauty. The pow-wow grounds is the area where the Pow-wow Circle or Arena is located and often includes camping areas for visitors, it is usually in a centralized location of the community. CULTURAL BACKGROUND INFORMATION: In the beginning of a pow-wow, all the dancers are lined up under the direction of the Arena Director, most often at the east entrance of the pow-wow arena. When all is ready, the signal is given to one of the drum group to begin singing a Grand Entry song. The dancers are led into the pow-wow circle or arena by the dancer carrying the Eagle Staff, followed by the U.S. Flag and Tribal Flags, which are most often carried, side by side by combat veterans. Next come the titleholders of tribal pageants and then other invited dignitaries.

The dancers follow the procession in this order: Men:

1. Traditional Dancers 2. Grass Dancers 3. Fancy Dancers Women: 1. Traditional Dancers 2. Jingle Dress Dancers 3. Fancy Shawl Dancers

After the adults come the Junior Boys and Junior Girls categories and at the end are the Little Boys and the Little Girls categories. They all follow the procession in the same order as the Men and Women’s categories. All the dancers dance in a sunwise or clockwise direction. They dance around the arbor demonstrating their styles of dancing to the audience. It is also a time to display their regalia (clothing) and beadwork, etc. When the Grand Entry song is completed, all the dancers come to a halt and stand respectfully, while a flag song, which is equivalent to the National Anthem, is sung. When that is done, an invocation is offered to bless the event and all participants of the pow-wow. Right after the invocation, the Eagle Staff is placed, often times, in front of the announcer’s stand. Then the veterans place all the flags next to the Eagle Staff. Next, welcome statements are given by the sponsors of the pow-wow, which may be followed by other statements given by visiting dignitaries. When this is all taken care of, the pow-wow may then begin. There are many such gatherings, like pow-wows, which take place each year in the United States and Canada. Singers and Dancers travel great distances to participate in pow-wows. Some pow-wows are very large events and some are very small. Only registered dancers are allowed to dance in the contests. When the announcer says that it is time for Intertribal Dancing, this is the time for everyone to dance. All visitors are included and they are welcome to dance in the arena at this time. STUDENT ACTIVITIES:

1. Invite elders, dancers, or teachers to class to teach the students about how to enter a pow-wow circle or arena.

2. Invite elders, dancers, or teachers to discuss the importance of respect for the pow-wow arena and for the songs being sung.

Lesson Two: The Drum, Singing Styles, and Songs

GRADE LEVEL: K-12 SUBJECT: Music GOALS: 1. To teach students about the importance of American Indian

singing.

2. To help students learn about the different styles of singing. OBJECTIVES: Students will learn about:

1. The sacredness of drums. 2. How different types of songs are sung for certain events.

3. To learn about the types of songs for each occasion

CULTURAL CONCEPT: American Indian music, especially singing, is deeply embedded in the cultural structure of American Indians. The singers who sit at a drum, often practice together frequently to perfect their rhythm and singing style. The beating of the drum is the way to call all the people together to dance and rejoice. CULTURAL BACKGROUND INFORMATION: The Drum Drums can be made in a variety of ways. Some are quite old and have been handed down in a family; others are made for a drum group. Many drums are made of deer, elk or horsehides. Some drums are contemporary bass drums, which can be purchased or renovated, and even blessed, just like the older, traditional drums. For most Native people, the drum is considered to be more than just a musical instrument to those who own and play it. It is a living, breathing being with it’s own spirit. Some drum groups have gone through ceremonies to have their drums blessed and named. The drum symbolizes the heartbeat as well as the sound of the life-giving thunder. Gifts, such as tobacco, are offered to the drum for a blessing because of the energy or medicine that is in the drum. The drum must always be treated with respect as a sacred object or entity. Nothing is ever placed on the drum, nor does anyone ever reach across

it. Many drums even have their own songs, which are frequently sung as a warm-up at the beginning of the powwow/celebration. Like a heartbeat, the beat of the drum starts slowly and then beats more quickly as the singers get further into the song. The drum sticks connect the singers to the power of the drum as they sing. The drumming in contests is judged by the rhythm of the song. Usually the drum group is only judged on the songs they sing for the dance contests and on intertribal songs. There are many different rhythms and drum beats played, and each type of contest song requires a different one. The drum beats must be in perfect time, and each player must be in perfect unison. The Pow Wow Committee always picks the Host Drum. As the invited drum, they are called upon for special songs for the families and honorings. Singing Styles There are different types of songs sung for different occasions, such as songs for Grand Entries, for dance contests and for honoring ceremonies. Each song was made to serve a purpose. Although all songs differ in tempo, words and emotion, powwow songs all have a similar structure. The lead singer selects the songs to be sung for a contest. He/she may hit the drums once to let the dancers and other singers know the song is about to start. The lead singer, the first the people hear, will sing alone a phrase or a tune called lead or push-up. The rest of the group repeats the lead, this is called second. Then all the singers sing the melody (first part) and a repetition of the melody (second part) together. One rendition of the song can also be called push-up, so if the announcer asks a drum for four push-ups they will sing the grouping of the lead, second, fourth part and second part four times. There are three kinds of songs:

• all words; • all melody (these songs are sung with vocables, syllables without meaning used to

carry the melody); and • those with vocables for the lead, second and first part and words for the second

part. Contest singers, unlike pop stars, aren’t judged by the sweetness of their voice. In the Northern Plains, the higher parts of the song are sung in falsetto and the melody gains energy and rhythm as the voice descends. The sound is produced in the back part of an open mouth and throat with the volume and quality of the voice depending largely on

well-developed abdominal muscles. Singers are judged on the range, volume, strength and expressive quality of their voices and the way they blend with the rest of the group. Women singing an octave higher than the men may sometimes join in the latter part of each rendition. Women may also trill (a high-pitched sound made with the tongue) in special places in the song to indicate deep feelings such as joy, or appreciation of the song, or in honor of a specific person or event. The Songs The Flag Song Many Indian tribes around the turn of the century adopted a song with which to honor the flag of the United States. The Flag Song has since been utilized by the tribes at the beginning of virtually all events in almost precisely the same manner in which mainstream America has adopted the Star Spangled Banner. The Honor Song Note: Spectators should always stand and remove their caps or hats during an Honor Song. As the name suggests, Honor Songs are requested at the powwow/celebration to honor someone. Perhaps a family would request an Honor Song for a son who returned from being away, or in the memory of a deceased relative. Honor Songs can be made for almost any occasion. In some traditions, people with an Indian name have their own songs and those songs are sung if the person is to be honored. In other instances, there are “generic” honor songs for people without their own song. The Trick Song These songs are usually sung only for the fancy dancers and shawl dancers. A Trick Song is really a contest between the dancers and singers. The drummers try to fool the dancers into missing beats or failing to stop on time. Singers will either pick a specially-composed song or transform another song by agreeing among themselves when they will stop. STUDENT ACTIVITIES:

1. Invites drummers and singers to perform for the students.

2. Have a singer or community resource teacher come in to explain about the types of songs.

3. Listen to CD’s of American Indian music.

Lesson Three: Becoming a Dancer

SUBJECT: Music GOALS: 1. To teach students about the importance of American Indian

Dancing.

3. To help students learn about the different styles of dancing. OBJECTIVES: Students will learn about:

1. Men’s Traditional Dance 2. Men’s Grass Dance 3. Men’s Fancy Dance 4. The Sneak Up Dance 5. The War Dance

6. Women’s Traditional Dance

7. Women’s Jingle Dress Dance

8. Women’s Fancy Shawl Dance

CULTURAL CONCEPT: American Indian Dancing is both an individual and communal way of self-expression. Dancers incorporate their own original movements into their category of dance according to the beat of the drum. Through the songs that are sung, dancers are able to tell a story. CULTURAL BACKGROUND INFORMATION: Men’s Traditional Dance The men’s traditional dance is just that: a traditional dance held over from times when war parties would return to the village and dance out the story of the battle, or hunters would return and dance their story of tracking an enemy or prey. The outfit of the traditional dance is more subdued in color than the other dancers. The out-fits are frequently decorated with bead and quill work. Traditional dancers wear a circular bustle of eagle feathers, representing cycles and the unity of everything. The

eagle feather spikes on the bustle point upward, representing a channel between the Great Spirit and all things on earth. The traditional dancers are usually veterans and carry, as they dance, many traditional items that symbolize their status as warriors. Traditional dancers carry shields, weapons, honor staffs (used to challenge the enemy and decorated with eagle feathers representing achievements in battle) and medicine wheels (carried as a reminder of the wisdom of the four directions, unity, and for the cycle of all things in the universe). The traditional step is done with the ball of the foot touching the ground on the 1 beat, the whole foot on the 2 beat. The traditional dancer’s movements are patterned after animals and birds, like the grouse, and may be an imitation of the tracking of the animals themselves. The men’s traditional dance competition is generally divided into five age groups: 50 plus, men, teen, junior boys and little boys (nine and under). Dancers are judged on how well they keep time to the music, follow the beat of the drum and stop when the music does, with both feet on the ground. Men’s Grass Dance Much has been written about the Grass Dance. Borrowed from the Omaha tribe, perhaps in the 1860s, the dance is very popular. Dancer’s outfits feature a good deal of colorful fringe, replacing the grasses dancers originally tucked into their belts. Many dancers wear the hair roach, the crow-belt, and the eagle-bone whistle—originally emblems for the Omaha society. The basic step of the Grass Dance involves the ball of one foot being tapped on one beat and placed down flatly with the next, repeating the action on the opposite foot without missing a beat. Each time the foot is placed flatly on the ground, the weight is shifted to that foot. Dancers should keep their heads moving either up or down with the beat of the drum, nodding quickly, several times to each beat, or moving from side to side. The purpose of this action is to keep the roach crest feathers spinning. To keep the feathers moving constantly is the sign of a good dancer. Although the Grass Dance is a freestyle type of dancing, dancers must follow the changing beat of the drum and stop when the music does, with both feet on the ground. The competition is divided into four categories: men, teen, junior, and little boys. Men’s Fancy Dance The Fancy Dance is a relatively new dance. The brilliantly colored feather bustles are said to have originated in Oklahoma in the early 1900s when promoters of large Native American ceremonials asked dancers to beautify their outfits for the spectators. Also at that time, the dance contest for cash prizes was introduced and contestants started making their outfits more colorful as a result. The Fancy Dance—danced mostly by boys and young men—is based on the standard double step of the traditional grass dances, but it takes off from there with fancy

footwork, increased speed, acrobatic steps and motions, and varied body movements. The Fancy Dance is also a freestyle kind of dance. Dancers do whatever they can to keep up with the music! They, too, must follow the changing beat of the drum, stop when the music does and have both feet on the ground. The Fancy Dance competition is divided into four categories: men, teen boys, junior boys, and little boys. The Sneak-Up Dance The Sneak-Up Dance follows a definite pattern of drum rolls in the first half of the four renditions and a standard Omaha beat in the second half of each of the four renditions. On the drum roll, the dancers shake their bells and make gestures of either following or seeking out the enemy. On the Omaha beats, they sneak up, advancing toward the center and stopping on the last beat of the song, then walking back to the perimeter. The fourth rendition doesn’t end as the first three do, but continues with three or four straight Omaha renditions, so the song is actually sung six or seven times in all. The War Dance The War Dance cannot function as it once did, but it is one of the principal features of a powwow. Traditionally, the War Dance was a major event in itself that was performed after a battle. As it was first performed, the men returning from war remained outside the village to clean themselves and prepare for entry into the village. The warriors then entered the village in a procession, each acting out his exploits in battle through dance. Through his movements of stalking and subduing the enemy, each told his personal story. Today, the War Dance is a demonstration of dancing ability and is a major contest dance category. The generous monetary prizes given for the contest encourages War Dance skill. The War Dance for the contemporary American Indian does not exclude women and is a main part of all powwows for many tribes. Women’s Traditional Dance In the mid-1800s, when beads were acquired through trade, the style for women’s traditional dance outfit was to bead the entire top of the dress. The design of each dress had a symbolic meaning to the individual owner. The dresses are decorated with ribbon work, elk’s teeth and shells, among other things, and the dancers usually wear decorated moccasins, knee-high leggings, beaded or concho belts and various pieces of jewelry like hair ties, earrings, chokers and necklaces. Most traditional dancers wear or carry a shawl and some carry a hawk or eagle feather fan, or a single feather. This may depend on whether the dance is social or a competition. Traditionally, women only danced to certain songs or on certain occasions and even then they were in the background. This is why the Women’s Traditional Dance (relatively new as a competition category) basically consists of remaining stationary and bending the knees with a slight up and down movement of the body. At the same time, the feet shift

subtly and women turn slightly. This is one form. It is also acceptable to dance slowly around the circle. Some traditions hold that this symbolizes the way women turned and looked for their warriors to come home. At certain points in the song, women may hear words that have meaning to them. They may signal their pride and acknowledge the words by raising their fans. Others raise their fans during the honor beats of the song. Women’s traditional dancers must follow the beat of the drum and stop with the music. The dance competition is generally divided into four categories: 40 and over, women, junior girls, and little girls (10 and under). Women’s Jingle Dress Dance:

Maggie White (Ojibway - Whitefish Bay, Ontario, Canada)

Jingle Dress Dancer

"When I was a small girl, I was born sickly. I was always ill as a child, than when I was eight years old I was given this dress. This dress, I was told was special and it was made for me. I was given this dress by my grandfather, after this dress was given to me I began to feel better, I wasn't sickly anymore. This dress I was told was my "odih iziwin"." Her Grandfather, Pinasse, had told her he made this dress for her. When he was a small boy he would have this vision that would be the same, but never did quite understand what it meant until his old age, by this time Maggie was around 7 or 8, when he knew what this Vision was. The story of his vision is something he shared with his family. What is known about his vision is this: That he had seen this dress that made a certain distinctive sound, where shiny conical shapes hung from the dress. There were certain songs that came with the dress, certain dances and a ceremony. Maggie's "odih iziwin" was made of colours that were representative of the world around her. What also came with the dress was what we call a "staff" that had a certain shape and colour. This staff was given to those that had received her "odih iziwin" through the proper ceremony. There are women in the Lake of the Woods area that carry this staff, along with their "odih iziwin" or as their "odih iziwin". It's something uniquely given, especially for them. Maggie shared her "odih iziwin" with the people she had met all over North America. What is also interesting to point out is that this is her story, our peoples story from the Anishinabeg of Lake of the Woods. She also shared her (a replica) "odih iziwin" with the rest of the people when she made a dress that resembled the first dress she was given when she was 8 years old. -Translated by Rhonda White

Now interest in the jingle dress is rekindled and women from many tribes are beginning to wear them. The jingle dress is not likely to be mistaken for anything else. The dress is made from cloth with hundreds of metal cones or jingles covering it. Often women use 365 cones to symbolize each day of the year. Jingle dress dancers must keep time with the music and stop when the music does with both feet on the ground. Women’s Fancy Shawl Dance The Women’s Fancy Shawl Dance is a relatively new addition to the dance competition. Until recently, women performed their fancy dancing in traditional garb. Some accounts say in the early 1900s, shawls replaced the blankets and buffalo robes young girls traditionally wore in public. In the 30s and 40s, young women would show off the shawls they made by doing some fancy footwork during the dances. Some say that was how the Women’s Fancy Shawl dance was born. The Fancy Shawl Dance outfit consists of a decorative knee-length cloth dress, beaded moccasins with matching leggings, a fancy shawl, and various pieces of jewelry. The dance itself is similar to the Men’s Fancy Dance, and the style is moving toward more movement, especially spinning. Footwork is the chief element of the dance. Fancy Shawl dancers must follow the changing beat of the drum and stop when the music does with both feet on the ground. The competition is generally divided into three categories: women, junior girls, and little girls (10 and under). STUDENT ACTIVITIES:

1. Invite a community resource teacher to come in to the classroom and share knowledge about the dance styles, etc.

2. Have students watch videos on pow-wows and styles of dancing. (Access videos

through the Internet.)

Lesson Four: The Audience as Participants

GRADE LEVEL: K-12 SUBJECT: Dance GOALS: 1. To teach students about the importance of American Indian

Dancing.

2. To help students to understand the inclusion of everyone in the Pow-wow Circle or Arena.

OBJECTIVES: Students will learn about:

1. How to conduct themselves in the Pow-wow Arena 2. How to dance during the intertribal dancing.

CULTURAL CONCEPT: The Pow-wow Circle is inclusive of everyone. There are no spectators because everyone, dancers, singers, and audience are participants. No one is left out. CULTURAL BACKGROUND INFORMATION: At any pow-wow, contemporary or traditional, there will be times when everyone in the audience will be invited to dance in the arena. This inclusion of the audience is unlike what happens in the theatre. There is no separation with the audience and the pow-wow, like there is with the audience and the theatre stage. The Pow-wow Circle can also extend for miles out. So that even the people who live in the country still feel that they are a part of the pow-wow circle because they can hear the drums beats for miles away. As a person who may be entering the pow-wow circle for the first time, it is a good idea to have a mentor, friend, or relative, who is familiar with the dance arena. Often times, although it depends on the region of the pow-wow, the entrance to the circle is at the east gate. When the announcer calls for an intertribal dance, he will ask one of the drum groups to take up a song. Then he will invite everyone out to dance. This is the time for everyone, including members of the audience, to go out in the arena and dance. Keep in mind that

it is okay if the steps are unknown or the movement of the dance is unfamiliar, the most important thing is to keep moving. In the arena, there will be dancers dressed in full regalia. Whatever happens, do not touch a dancer’s regalia or feathers. It is best to pay close attention to all the dancers and anyone else who is out in the arena. At any time, the announcer will ask everyone to clear the arena. When this happens, all dancers usually will continue to walk around the circle, sunwise, until they reach their seats. This is the time to follow their actions, as well, and find a seat. STUDENT ACTIVITIES:

1. Have students attend a pow-wow. 2. Have students participate in an intertribal dance.

Lesson Five: Honoring the Ancestors

GRADE LEVEL: K-12 SUBJECT: Dance GOALS: 1. To teach students about the importance of Honoring the Ancestors from an American Indian perspective. OBJECTIVES: Students will learn about:

1. How to acknowledge the connection to the Ancestors, as well to the present, and the future generations. 2. Why a giveaway is often held at a pow-wow when an ancestor is honored.

CULTURAL CONCEPT: Honoring the ancestors is about respecting the ancestors and acknowledging them in the way that is appropriate to American Indian beliefs. In turn, the honor also extends to all who are living in the present, and to those who are not yet born. CULTURAL BACKGROUND INFORMATION: Through the tribal circle and the pow-wow arena, dancers and participants take time to acknowledge the ancestors who contributed to well being of the present generation. Memorial songs may be sung for great grandparents, grandparents, parents, and other family members, etc. When such a memorial song is sung for an ancestor, a descendent of the ancestor being honored, often comes forward to give away cash to the pow-wow committee and to the drum group who sang the honoring song. Giveaways most often happen during this time. A family or an individual who is having a giveaway, will take in to consideration all the people who are at the pow-wow. It is an honor to receive such a gift from a memorial giveaway. STUDENT ACTIVITIES:

1. If possible, attend a pow-wow or community dance to learn more about how relatives and ancestors are honored.

2. Invite a tribal elder or community representative to speak about honoring the

ancestors, and the connections to the present generation and the future ones yet to come.

Lesson Six: Respecting the Earth

GRADE LEVEL: K-12 SUBJECT: Dance GOALS: 1. To teach students about the importance of respecting the Earth. OBJECTIVES: Students will learn about:

1. How dancers honor their connection to the Earth. 2. How each dancer has a story that they share through dance.

3. Why dancers move in a sunwise direction around the arena.

CULTURAL CONCEPT: The concept involved here is that whenever there is dance, like in a pow-wow, there is also a strong connection to the Earth. CULTURAL BACKGROUND INFORMATION: When dancers are out in the arena, they are dancing to honor the Earth. In that honoring, dancers offer their energy to the Earth as a way of giving thanks for all that the Earth gives to everyone and everything. Each step represents that thanks. Many traditional dancers acknowledge the Earth by pointing their dance sticks to the Earth or by kneeling at some point when they dance. It is a way of showing humility and love for the Earth and all her beauty. The Pow-wow Circle or Arena is also a representation of the Earth. When dancers move in a sunwise direction around the arena, this movement is a reflection of the Earth’s rotation. Dancing also represents the continuation of life on Earth. STUDENT ACTIVITIES:

1. Have students write a essay or story of how dancers honor the Earth. 2. Invite elders or community members to come in to speak to the class about respecting the Earth.

Lesson Seven: Bringing it All Together

GRADE LEVEL: K-12 SUBJECT: Dance GOALS: 1. To teach students about the importance of One World OBJECTIVES: Students will learn about:

1. How to address the concept of All My Relations 2. Understanding the energy that is shared with everyone

CULTURAL CONCEPT: Bringing it All Together is a way to connect to the The Drum is the Thunder, the Flute is the Wind curriculum. CULTURAL BACKGROUND INFORMATION: Many tribes have teachings about the concept of One World. They have statements that translate to All My Relations! In this teaching is the message that we are related to everyone and everything in this Universe. The pow-wow arena or tribal circle represents that relationship to everything. This relationship is also represented in the Hoop Dance, “The beauty of dance is often discovered in the message it presents. The Hoop Dance is just such a dance: one of message and of beauty. It is a metaphor for the process of regeneration apparent in our lives in many guises.” When everyone is dancing in the arena, the dancers create a good energy that is then shared with everyone who is out in the audience. This energy helps everyone to feel happy and also to feel connected to one another, as relatives. And in turn this energy continues outward to the Universe and the four colors of man: black, red, yellow, white. One world. STUDENT ACTIVITIES:

1. Have students read a story about the concept of renewal. 2. Have students study the elements of the Sacred Hoop. 3. Have students research the concepts of unity and cooperation.

Connection Four: The Nebraska Standards and the National Arts Standards Addressed

“Education is the new buffalo for my people” – Denine Morris, Omaha

The Nebraska Standards can be found at the Nebraska Department of Education website: http://www.education.ne.gov/. SOCIAL STUDIES Content Standards Standard 4.1 Students will compare communities and describe how United States and Nebraska Standard 4.2 Students will describe the contributions from the cultural and ethnic groups that made up our national heritage: Native Americans, Hispanic Standard 4.4 Students will describe the interaction between Native Americans and their environment on the plains prior to European contact. Standard 4.5 Students will describe Nebraska's history, including geographic factors, from European contact to statehood. Standard 4.6 Students will identify significant individuals, historical events Standard 8.1.1 Students will analyze major cultures in the Americas before the 17th century. Standard 8.1.2 Students will analyze the major people, events, and ideas that led to the exploration and settlement of the Americas by Europeans. Standard 8.1.4 Students will analyze challenges faced by the new United States government. Standard 8.1.5 Students will describe growth and change in the United States from 1801-1861. Standard 8.3.8 Students will describe the purpose and function of the United States Constitution, including the Bill of Rights.

Standard 8.3.7 Students will summarize the rights and responsibilities of United States citizens. Standard 12.1.1 Students will analyze and explain the causes and effects of the Age of Discovery, contacts between Native Americans and European settlers, and the creation of the American colonies. Standard 12.1.4 Students will analyze the impact of immigration on American life, identifying factors Standard 12.2.5 Students will analyze the impact of European expansion into the Americas, Africa and Asia. The National Arts Standards can be found at www.artsedge.org. DANCE Content Standards: Standard 1: Identifying and demonstrating movement elements and skills in performing dance Standard 3: Understanding dance as a way to create and communicate meaning Standard 5: Demonstrating and understanding dance in various cultures and historical periods Standard 7: Making connections between dance and other disciplines MUSIC Content Standards: Standard 6: Listening to, analyzing and describing music Standard 7: Evaluating music and music performances Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts Standard 9: Understanding music in relation to history and culture VISUAL ARTS Content Standards: Standard 3: Choosing and evaluating a range of subject matter, symbols and ideas Standard 4: Understanding the visual arts in relation to history and cultures Standard 6: Making connections between visual arts and other disciplines

Resources

Community Agencies, Indian Education Programs, and Native American Media Indian Center, Inc., Lincoln, Nebraska http://indiancenterinc.org/

Indian Education Program, Lincoln Public Schools, Lincoln, Nebraska http://www.lps.org/instruction/federal/indianed/index.html Native American Public Telecommunications http://www.nativetelecom.org/

Native Indigenous Centered Education, Omaha Public School, Omaha, Nebraska http://www.ops.org/

Native American Dance Troupes:

Many Moccasins Dance Troupe http://www.themanymoccasins.com/aboutus.htm The Kevin Locke Native American Ensemble http://www.kevinlocke.com/nde/index.html

Nebraska Drum Groups:

Bird Clan Southern Style Hard River Southern Style Hay Lush Ka Singers Southern Style Maza Kute Northern Style Omaha Lodge Northern Style Omaha Standing Eagle Southern Style Omaha Whitetail Southern Style Rockin Horse Singers Southern Style Standing Eagle Southern Style Urban Crew Northern Style Yellow Smoke Northern Style Young Generation Southern Style

Nebraska Schools

Omaha Nation Public Schools, Macy, Nebraska http://teacherweb.esu1.org/chiefsweb/

Santee Community School, Santee, Nebraska http://santeeweb.esu1.org/ St. Augustine Indian Mission, Winnebago, Nebraska http://www.staugustinemission.com/ Walthill Public School, Walthill, Nebraska http://walthweb.esu1.org/

Winnebago Public School, Winnebago, Nebraska http://winnebago.esu1.org/

Publications:

Celebrating the Powwow, Bobby Kalman, (Crabtree Publishing Company), 1997 Drumbeat…Heartbeat: A Celebration of the Powwow, Susan Braine, (Minneapolis: Lerner Publications Co.), 1995. History of the Santee Sioux: United States Indian Policy on Trial, Roy W. Meyer, (Lincoln: University of Nebraska Press) 1993. Jingle Dancer, Cynthia Leitich Smith, (Morrow Junior Books), 2000

The Lost Universe: Pawnee Life and Culture, Gene Weltfish, (Lincoln: University of Nebraska Press), 1965

Native American Dance: Ceremonies and Social Traditions, Charlotte Heth, ed., (National Museum of the American Indian, Smithsonian Institution & Starwood Publishing, Inc., Washington, D.C.), 1992. Call 1-800-992-2908. North American Indian Music: A Guide to Published Sources and Selected Recordings, Richard Keeling, (Garland Library of Music Ethnology; 5), 1997. Omaha Tribe, Volume I & II, Alice C. Fletcher and Francis LaFlesche, (Lincoln: University of Nebraska Press), 1992

The Ponca Tribe, James H. Howard, (Lincoln: University of Nebraska Press), 1995 Powwow, George Ancona, (Harcourt, Brace, & Company), 1993. Powwow at the Archway, Ken Bouc, (NEBRASKALand, p. 14 – 17), June, 2010 http://outdoornebraska.ne.gov/nebland/articles/preview_articles/Powwow.pdf The Winnebago Tribe, Paul Radin, (Lincoln: University of Nebraska Press), 1990

State Government Agencies:

Nebraska Commission on Indian Affairs http://www.indianaffairs.state.ne.us/

Nebraska Department of Education/Native American Education http://www.education.ne.gov/mce/Symposium.html South Dakota Department of Education/Indian Education http://doetest.sd.gov/secretary/indianed/index.asp

South Dakota Office of Tribal Government Relations http://www.state.sd.us/oia/index.asp

Teachers Guides and Websites:

The Drum is the Thunder, The Flute is the Wind Teacher’s Guide http://www.kevinlocke.com/nde/pdf/DrumThunderFluteWindTech.pdf Indian Education for All American Indian Music: More Than Just Flutes and Drums, A Guide to American Indian Music http://www.opi.mt.gov/pdf/IndianEd/Resources/09MoreThanDrums.pdf Indian Education for All Your Guide to Understanding and Enjoying Pow-wows http://www.opi.mt.gov/pdf/IndianEd/Resources/PowWows.pdf The Great Platte River Road Archway http://www.archway.org/ Native American Times Powwow Guide http://www.nativetimes.com/index.php?option=com_content&view=article&id=3339&Itemid=100045 Turtle Island Storytellers Network Storyteller: Wynema Morris, (Omaha Tribe), The Origins of the Pow-wow http://www.turtleislandstorytellers.net/tis_nebraska/transcript_w_morris.htm A Wisconsin Pow-wow Teachers Guide http://www.ecb.org/wisconsin/powwow/guide.htm

Powwows.com Your Portal to Native American Tribal Culture http://www.powwows.com/

Tribal Colleges Little Priest Tribal College http://www.littlepriest.edu/

Nebraska Indian Community College http://www.thenicc.edu/ Oglala Lakota College http://www.olc.edu/ Sinte Gleska University http://www.sintegleska.edu/ Tribal Governments:

Omaha Tribe of Nebraska P.O. Box 368 Macy, NE 68039 (402) 837-5078

Ponca Tribe of Nebraska http://www.poncatribe-ne.org/ Santee Sioux Tribe of Nebraska http://www.santeedakota.org/santee_sioux_tribe_of_nebraska.htm Winnebago Tribe of Nebraska http://www.winnebagotribe.com/ Oglala Sioux Tribe http://home.comcast.net/~zebrec/

Pawnee Nation of Oklahoma http://www.pawneenation.org/ Rosebud Sioux Tribe http://www.rosebudsiouxtribe-nsn.gov/

Acknowledgements

Thank you to the LIED Center for Performing Arts for making it possible to develop the Nebraska Educator’s Guide to American Indian Singing and Dancing: Making Connections to the Classroom (K-12). Thank you to the Ixtlan Education Group for providing the Drum is the Thunder and the Flute is the Wind Teacher’s Guide, which is based on the work of Kevin Locke (Hunkpapa Lakota). Wibthahon! (Thank you!) and Pilamaya Tanka (Big Thank you!) to Kevin Locke and the Native Dance Ensemble for their outstanding efforts in educating the world about Native values and traditions. A Special Thank You to the Indian Education Program, Office of Public Instruction, Helena, Montana for their permission to reprint from the Indian Education for All: Your Guide to Understanding and Enjoying Pow wows in Connection Three: Seven Lessons for the Classroom, Lessons One, Two, and Three. Chi Miigwetch to Peter L. White, Ojibway Elder, Sioux Narrows, Ontario, Canada, for permission to reprint the story of Maggie White, Jingle Dress Dancer. And thank you to the tribal elders, tribal leaders, spiritual leaders, educators, and community members who took the time to review this guidebook and to offer input and suggestions. Your work is dearly appreciated!

Author’s Bio

Renee Sans Souci With a degree in education and being a Native woman, Sans Souci combines her life experiences and creates a process that helps students engage in their own cultural identities. By introducing interrelatedness, she creates an atmosphere for students to honor other cultural viewpoints through creative writing and spoken word. Renee is currently a Teaching Artist in residence at Umonhon Nation Public School in Macy, Nebraska through the LIED Center for Performing Arts in partnership with the Kennedy Center for Performing Arts. As an educator, she is also designing a language survival school based on Native philosophy and worldviews. Her hope is that students' learning will be enhanced through the teachings of the tribal circle and will gain a fuller understanding of their relationship to the Earth and Sky. Renee may be contacted at: renee_sans_souci@hotmail.com. This work is made possible by grants from the Lincoln Arts Council, the Kennedy Center Partners in Education Program, the Nebraska Arts Council and through support from the

Lied Center for Performing Arts and the University of Nebraska-Lincoln’s College of Education and Human Sciences.

For more information, please contact

Nancy Engen-Wedin Lied Center for Performing Arts

301 N. 12th Street Lincoln, NE 68588-0151

402.472.4707 nengenwe@unlnotes.unl.edu