Welcome to Native American Studies – SOCI 1100 4A Fall, 2011 Room 239 Fort Omaha Bldg. #10

Agenda Day #2 Discuss MCC powwow (Wacipi) Introduction to NA Studies Dance regalia Powwow etiquette Introduction to NA Studies Graphic histories The Lakota Way – beginning the reading

Dance Regalia Regalia is the appropriate term “Costume” is not used and may be offensive Costume denotes artificiality Regalia are very personal and artistic expressions of the dancers' lives Men’s typical regalia: fancy dancer, men’s traditional, grass dancer Women’s typical regalia: women’s traditional – buckskin, cloth, applique; fancy shawl, jingle

http://www.youtube.com/watch?v=UaHbbX-aoJU Kevin Locke http://www.youtube.com/watch?v=H7QBAqjyi5k&feature=related Prairie chicken dance http://www.mccneb.edu/intercultural/documents/PowwowFlyer_000.pdf

Pow Wow Etiquette The seating around the Arena is reserved for dancers in regalia.  Seats with blankets, shawls or regalia items on them are taken and should not be bothered.  Do NOT sit on someone else's blanket unless invited. The Arena is a sacred place from the time it is blessed until the Pow Wow is over.  Do not walk across the arena. Walk around the edges. Only dancers and arena directors, etc. are allowed in the arena. Show respect to the Flag, Honor and Veterans songs and prayers by standing until the song is completed. Men—remove your hats!

If you wish to photograph a dancer in regalia, ask first If you wish to photograph a dancer in regalia, ask first.  If the picture is for publication or commercial use, that should be explained before the picture is taken. Pictures should NOT be taken during Veterans Songs, Flag Songs, Prayers or any other time announced by the Master of Ceremonies.  Do not touch a drum without permission. Women are not generally allowed to sit at a drum or to touch it. Unless you are sure spectator seating will be provided, bring a chair.   Remember that the seating immediately around the Arena is for dancers only. Alcohol, recreational drugs and firearms are prohibited. In all cases, these items are not allowed on Metro campuses. If you see a lost feather, notify the nearest Veteran, the Head Veteran, Head Man Dancer or Arena Director immediately.

N.A. Studies Multidisciplinary Indigenous peoples Cultures Histories Successes Experiences Indigenous peoples Native peoples of US (inc. Alaska and Hawaii) Canada Latin America

N.A. Studies – roots in social science and humanities Sociology/Anthropology History Literature Archaeology Oral histories supplied by tribal elders See Reading #2 - your assignment

Sociological Approach: Studying a Culture All the human made products associated with a society Two types of culture: material non-material Culture provides people a shared framework to guide them as they solve problems Another way to look at culture is to see it as products --the “things” used by the society There are two basic categories or types of culture - the things (material culture) and the intangibles such as knowledge, values, ideas, beliefs, etc. (non-material culture)

Components of Culture Normative Culture Material Culture There are three main components of culture. The material and the two aspects of the non-material culture: the cognitive and the normative. The circles are drawn as over-lapping because the components are so connected to one another. For every thing (ie, toaster) you have to have some cognitive information or knowledge (how to plug it in; where to insert the bread; how to push it down and set the control to achieve the appropriate shade) and some norms or rules (don’t immerse it in water; don’t stick a fork or other metal tool into). Further, if you’re mad at your brother, you should not bonk him on the head with the toaster. Cognitive Culture Non Material Culture

Material Culture All of the things created or used by the culture May be inventions May be borrowed (Process of diffusion) Technology is part of the material culture Things may become part of a culture in several ways. -They may be new combinations of existing materials and processes -Things may be adopted from other cultures through a process called diffusion

Non-Material Culture Knowledge Beliefs Values Rules Symbolic information Language The non-material culture is made of intangible ideas that are essential for development, progress and continuation within the culture. There are two components: cognitive and normative.

Cognitive Culture All of the culture’s knowledge Ideas Beliefs Procedures Creativity Information Processing Procedures Symbolism and Language The knowledge/information component of culture is the cognitive culture.

Normative Culture Definition: Norm Standard of desired behavior; Norms are rules people are expected to follow The rules of the culture are a part of the normative culture.

Types of Norms Folkways Mores customs habits minor with few, if any sanctions for violation Mores vital morally significant (sin) violations result in severe sanctions There are three basic types of norms, folkways and mores. Folkways are everyday customs. In some context we might call them manners. Violations tend to be ignored, although repeated violations may result in the label “eccentric,” “weirdo” or “geek.” Mores are more socially significant rules. Violations might be considered “sinful.” Obedience to mores is seen as vital to the well-being of the society. Failure to obey could result in a severe punishment--depending on the degree of violation. Those rules, usually mores, that are taken very seriously are legislated into laws with designated enforcement personnel and specified sanctions. We will explore norms and sanctions (rewards/punishments) more thoroughly in Chapter 6.

Cognitive Culture: Symbolic Depiction Graphic histories – Prehistoric people, starting tens of thousands of years ago, left a record of their presence on the stone walls of caves and canyons, and on boulders around springs and water holes. In many cases the rock art and stone tools they left behind is all that remains of their culture.

Graphic History Prehistoric people, starting tens of thousands of years ago, left a record of their presence on the stone walls of caves and canyons, and on boulders around springs and water holes. In many cases the rock art and stone tools they left behind is all that remains of their culture. Some probably had deep cultural and religious significance Many thought to represent some kind of not-yet-fully understood symbolic or ritual language. http://www.answers.com/topic/petroglyph#ixzz1XImHblkH

Petroglyphs The outer patina covered surface of the parent stone is removed to expose the usually lighter colored stone underneath. Some stone is better suited to petroglyph making than others. Stone that is very hard or contains a lot of quartz does not work well for petroglyph making; however, a nice desert varnished basalt usually works very well.   http://www.petroglyphs.us/

Newspaper Rock, near Monticello, Utah

Newspaper Rock is a petroglyph panel etched in sandstone that records perhaps 2,000 years of human activity in the area. Etched into the desert varnish are symbols' representing the Fremont, Anasazi, Navajo and Anglo cultures. The exact nature of these symbols meaning is still not clearly understood. But they are typical of many sites throughout the U.S. in their use of universal symbols, be it graffiti or a true "newspaper," recording events of the times and earlier.

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Hawaiian Petroglyphs This human-like figure is wearing what appears to be a headdress. It may represent a ceremonial figure or a person of authority. The original petroglyph is carved into the rock near Kaupuleho, Hawaii

These two paddlemen or paddle dancers are carved in the ro ck near Paniau, Hawaii. This petroglyph dog found Puako, Hawaii, was probably made in the 1800s

As did other cultures, the ancient Hawaiians left us enigmatic images that we ponder the meaning of today. This symbolic petroglyph is carved near Puuloa, Hawaii. 

Pictographs Pictographs are painted onto stone and are much more fragile than petroglyphs. The paint is a mineral or vegetal substance combined with some sort of binder like fat residue or blood. If the paint was not properly mixed with a binder it would not adhere well to the stone and the pictograph would quickly flake away. Pictographs were painted in locations where they would be protected from the elements: in caves, alcoves, under ledges and overhangs.

PICTOGRAPHS ON WALL OF HORSESHOE CANYON, believed to have been made by Fremont people about 1,000 years ago. Photograph by Walter Meayers Edwards, © 1971 National Geographic Society. http://www.nps.gov/history/history/online_books/geology/publications/bul/1327/sec3.htm

Fremont Culture The Fremont people, who were mainly hunters, seemingly left no artifacts, but they did leave beautiful pictographs, or rock paintings, such as the group of ghostly human figures on the sandstone wall of Horseshoe Canyon

Defiance House was discovered in 1959 Defiance House was discovered in 1959. Exploring the area before Lake Powell was created, University of Utah archeologists followed a dangerous hand-and-toe-hold trail up the sandstone cliff and were delighted to find an Anasazi site where "most of the roofs were still in place, and... two perfect red bowls still had scraps of food in them.“ They named the site "Defiance House“ for the large pictograph (rock painting) of warriors brandishing clubs and shields. http://www.nps.gov/glca/historyculture/defiancehouse.htm

Desert Culture Pictograph, California These hand prints are over 800 years old. They were found above Double Stack Ruin in Butler Wash near Bluff,Utah. For more info, visit Beyond Mesa Verde

They are in Canyon de Chelly National Monument, Chinle, Arizona These hands were made by blowing the paint onto the hand leaving a negative image. They are in Canyon de Chelly National Monument, Chinle, Arizona http://www.nps.gov/cach/index.htm

Intaglios Intaglios are large ground drawings created by removing the pebbles that make up desert pavement. Intaglios are usually in the outline of animals (zoomorphs) or human-like figures (anthropomorphs). Intaglios are found on mesas along the Colorado River more so than in other places. http://www.petroglyphs.us/  

The geoglyphics vary in form, style and size with the largest figure in the Blythe area, a man over 165 feet long, thought to be a giant hunter, being constructed like the other figures in the area through the removal of a surface layer of darkened rock, exposing a lighter soil underneath. http://www.blytheareachamberofcommerce.com/intag.htm

Intaglios are very susceptible to damage Intaglios are very susceptible to damage.  This arm of the largest figure neat Blythe, CA, illustrates the damage caused by vehicle tires.  If you visit an intaglio remember that even footsteps can damage the figures.

Another Graphic History: Wintercounts  For generations, Plains Indians drew pictographs to document their daily experiences.  The Lakota term for winter count is wniyetu wowapi. The word Wowapi translates as “anything that can be read or counted.”  Waniyetu is the Lakota word for year, which is measured from first snow to first snow. http://www.aktalakota.org/index.cfm?cat=1&artid=182

Winter counts were dynamic documents of recorded history Winter counts were dynamic documents of recorded history.  Variations between similar counts occurred if a community historian chose to emphasize a different aspect of an event or select another event all together. Differences among winter count narratives may also be the result of inaccurate translation from Lakota to English. The winter count, like history, is selective representation of a people’s past. The narratives usually reflect both the community’s history and culture.

Winter counts were also used by individuals within the tribal community to record specific events in their own lives. Tribal communities made up of members of extended family or tiyospayes also recorded their story and experiences on a winter count so it was not uncommon to have multiple copies of winter counts within a community.  http://www.aktalakota.org/index.cfm?cat=1&artid=182

Kills Two, Brule´ Sioux Medicine Man, is painting on a deer hide the “Big Missouri” Winter Count – the pictorial record of their tribe from 1876-1926. Photography by John A. Anderson, c. 1923

Lakota Wintercounts Lone Dog – 1800 - 1870 This version of the Lone Dog count painted on cow hide was acquired by the museum in 1952 from an antique dealer without any information on who made it or when. http://wintercounts.si.edu/index.html

http://wintercounts.si.edu/index.html Great Sioux Reservation http://wintercounts.si.edu/html_version/pdfs/map.cmyk.pdf Depiction of Various Tribal Groups in wintercounts http://wintercounts.si.edu/html_version/pdfs/peoples.pdf