INDIGENOUS CULTURE ALBUMS
NATIONAL ABORIGINAL DAY
Red Deer, AB (JUNE 21, 2015) - RED DEER MUSEUM
June 21 is National Aboriginal Day. This is a day for all Canadians to recognize and celebrate the unique heritage, diverse cultures and outstanding contributions of First Nations, Inuit and Métis peoples. The Canadian Constitution recognizes these three groups as Aboriginal peoples, also known as Indigenous Peoples.
Although these groups share many similarities, they each have their own distinct heritage, language, cultural practices and spiritual beliefs.
In cooperation with Indigenous organizations, the Government of Canada chose June 21, the summer solstice, for National Aboriginal Day. For generations, many Indigenous Peoples and communities have celebrated their culture and heritage on or near this day due to the significance of the summer solstice as the longest day of the year.
National Aboriginal Day was announced in 1996 by then Governor General of Canada, Roméo LeBlanc, through the Proclamation Declaring June 21 of Each Year as National Aboriginal Day. National Aboriginal Day was the result of consultations and statements of support for such a day made by various Indigenous groups.
Although these groups share many similarities, they each have their own distinct heritage, language, cultural practices and spiritual beliefs.
In cooperation with Indigenous organizations, the Government of Canada chose June 21, the summer solstice, for National Aboriginal Day. For generations, many Indigenous Peoples and communities have celebrated their culture and heritage on or near this day due to the significance of the summer solstice as the longest day of the year.
National Aboriginal Day was announced in 1996 by then Governor General of Canada, Roméo LeBlanc, through the Proclamation Declaring June 21 of Each Year as National Aboriginal Day. National Aboriginal Day was the result of consultations and statements of support for such a day made by various Indigenous groups.
- in 1995, the Sacred Assembly, a national conference of Indigenous and non-Indigenous people chaired by Elijah Harper, called for a national holiday to celebrate the contributions of Indigenous Peoples
- also in 1995, the Royal Commission on Aboriginal Peoples recommended the designation of a National First Peoples Day
- in 1982, the National Indian Brotherhood (now the Assembly of First Nations) called for the creation of National Aboriginal Solidarity Day
POW WOW 2014 - DAYTIME GRAND ENTRY
SAMSON CREE NATION, (MASKWACIS, AB)
The Grand Entry begins each session with a procession of dancers. The Flag Bearers lead the procession carrying the Eagle Staff, American Flag, Canadian Flag, and frequently, the MIA-POW Flag. Being a Flag Bearer is an honor usually given to a veteran, a respected traditional dancer, or a traditional elder. Indigenous Royalty are next, consisting of tribal and organizational princesses and other dignitaries.
The Head Dancers lead a single file procession of dancers arranged by category and age. Everyone is asked to stand during the Grand Entry and men should remove their head coverings unless it has an eagle feather. After all the dancers are in the arena, a flag song is sung to honor the Eagle Staff and the flags. Then a respect person, usually an elder, offers a prayer. This is followed by a victory song during which the Eagle Staff and flags are placed in their standards. At this time, the Master of Ceremonies will introduce the Head Dancers and Royalty.
The Grand Entry begins each session with a procession of dancers. The Flag Bearers lead the procession carrying the Eagle Staff, American Flag, Canadian Flag, and frequently, the MIA-POW Flag. Being a Flag Bearer is an honor usually given to a veteran, a respected traditional dancer, or a traditional elder. Indigenous Royalty are next, consisting of tribal and organizational princesses and other dignitaries.
The Head Dancers lead a single file procession of dancers arranged by category and age. Everyone is asked to stand during the Grand Entry and men should remove their head coverings unless it has an eagle feather. After all the dancers are in the arena, a flag song is sung to honor the Eagle Staff and the flags. Then a respect person, usually an elder, offers a prayer. This is followed by a victory song during which the Eagle Staff and flags are placed in their standards. At this time, the Master of Ceremonies will introduce the Head Dancers and Royalty.
POW WOW 2014 - EVENING GRAND ENTRY
SAMSON CREE NATION, (MASKWACIS, AB)
The Grand Entry begins each session with a procession of dancers. The Flag Bearers lead the procession carrying the Eagle Staff, American Flag, Canadian Flag, and frequently, the MIA-POW Flag. Being a Flag Bearer is an honor usually given to a veteran, a respected traditional dancer, or a traditional elder. Indigenous Royalty are next, consisting of tribal and organizational princesses and other dignitaries.
The Head Dancers lead a single file procession of dancers arranged by category and age. Everyone is asked to stand during the Grand Entry and men should remove their head coverings unless it has an eagle feather. After all the dancers are in the arena, a flag song is sung to honor the Eagle Staff and the flags. Then a respect person, usually an elder, offers a prayer. This is followed by a victory song during which the Eagle Staff and flags are placed in their standards. At this time, the Master of Ceremonies will introduce the Head Dancers and Royalty.
The Grand Entry begins each session with a procession of dancers. The Flag Bearers lead the procession carrying the Eagle Staff, American Flag, Canadian Flag, and frequently, the MIA-POW Flag. Being a Flag Bearer is an honor usually given to a veteran, a respected traditional dancer, or a traditional elder. Indigenous Royalty are next, consisting of tribal and organizational princesses and other dignitaries.
The Head Dancers lead a single file procession of dancers arranged by category and age. Everyone is asked to stand during the Grand Entry and men should remove their head coverings unless it has an eagle feather. After all the dancers are in the arena, a flag song is sung to honor the Eagle Staff and the flags. Then a respect person, usually an elder, offers a prayer. This is followed by a victory song during which the Eagle Staff and flags are placed in their standards. At this time, the Master of Ceremonies will introduce the Head Dancers and Royalty.
POW WOW 2014 - JUNIOR BOYS FANCY
SAMSON CREE NATION, (MASKWACIS, AB)
This is the kind of pow wow dancing that spectators love. It is fast and furious. Dancers must be in top physical condition to execute the tricky footwork and acrobatic movements that make this style so exciting to watch. It’s not uncommon to see Fancy Feather dancers do cartwheels, backflips and splits in competitive dancing. Key to being a champion Men’s Fancy dancer is keeping on beat while making fringe and feather bustles shaking and swaying all the while twirling hand held spinners.
This dance is one of the more recent additions to pow-wow traditions. Fancy Dancers are usually called on to perform Sneak-Up or Trick Songs. These extremely fast songs ruffle the drum beat while dancers twirl about, followed by fast sections with sudden stops. It is always exciting to see the dancers interpret what the drum is doing and to see them all stay in time with the beat and stop on time. You definitely don’t want to miss this category!
This is the kind of pow wow dancing that spectators love. It is fast and furious. Dancers must be in top physical condition to execute the tricky footwork and acrobatic movements that make this style so exciting to watch. It’s not uncommon to see Fancy Feather dancers do cartwheels, backflips and splits in competitive dancing. Key to being a champion Men’s Fancy dancer is keeping on beat while making fringe and feather bustles shaking and swaying all the while twirling hand held spinners.
This dance is one of the more recent additions to pow-wow traditions. Fancy Dancers are usually called on to perform Sneak-Up or Trick Songs. These extremely fast songs ruffle the drum beat while dancers twirl about, followed by fast sections with sudden stops. It is always exciting to see the dancers interpret what the drum is doing and to see them all stay in time with the beat and stop on time. You definitely don’t want to miss this category!
POW WOW 2014 - Junior Boys grass
SAMSON CREE NATION, (MASKWACIS, AB)
Grass dancing was birthed from young men of the plains nations stomping down tall prairie grasses to prepare the site of a new village or site for ceremonies. Today’s Grass Dancers try to dance as smooth as possible as if they are those long prairie grasses blowing in the wind. For that kind of controlled movement, these Grass Dancers must be fit and strong. This sometimes results in some fantastic movements leaving you wondering, “How did he do that?!”
This style is known as one of the medicine dances. The fluid swaying motions represent a sense of balance with the natural order of creation. Grass Dancers are taught that the motions they do on one foot, they must do with the other foot. It is that intentional act of balanced footwork that makes the Grass Dance so spectacular to watch.
Grass dancing was birthed from young men of the plains nations stomping down tall prairie grasses to prepare the site of a new village or site for ceremonies. Today’s Grass Dancers try to dance as smooth as possible as if they are those long prairie grasses blowing in the wind. For that kind of controlled movement, these Grass Dancers must be fit and strong. This sometimes results in some fantastic movements leaving you wondering, “How did he do that?!”
This style is known as one of the medicine dances. The fluid swaying motions represent a sense of balance with the natural order of creation. Grass Dancers are taught that the motions they do on one foot, they must do with the other foot. It is that intentional act of balanced footwork that makes the Grass Dance so spectacular to watch.
POW WOW 2014 - JUNIOR BOYS TRADITIONAL
SAMSON CREE NATION, (MASKWACIS, AB)
First and foremost dancers in this category are aiming to tell you a story. Typically it is one of a hunt, a battle, or a certain victory. Dancers utilize different movements to demonstrate the story they are telling you; crouching, tracking, aiming, dashing about and so on. Many dancers are taught to dance toward the centre of the circle and tap once on the pole or shout out during this style. This is done to represent victory over an enemy or victory in the hunt they are telling you about. One stellar Men’s Traditional second song is called the Duck and Dive. Some say this style of dance came about during the First World War. Dancers listen very carefully for slow hard drumbeats bend downward in time as if to dodge artillery fire.
First and foremost dancers in this category are aiming to tell you a story. Typically it is one of a hunt, a battle, or a certain victory. Dancers utilize different movements to demonstrate the story they are telling you; crouching, tracking, aiming, dashing about and so on. Many dancers are taught to dance toward the centre of the circle and tap once on the pole or shout out during this style. This is done to represent victory over an enemy or victory in the hunt they are telling you about. One stellar Men’s Traditional second song is called the Duck and Dive. Some say this style of dance came about during the First World War. Dancers listen very carefully for slow hard drumbeats bend downward in time as if to dodge artillery fire.
POW WOW 2014 - JUNIOR GIRLS FANCY SHAWL
SAMSON CREE NATION, (MASKWACIS, AB)
There are two stories behind the Fancy Shawl Dance. One story says that the dance represents a butterfly emerging from a cocoon. While that is a poetically beautiful legend, most dancers agree that the Fancy Shawl dance grew from the Men’s Fancy style. Women in the 1950’s wanted to mimic the quick and complex footwork of the men, and thus a more feminine version was born utilizing a shawl instead of feather bustles.
Like Jingle, there are Contemporary and Old Style Fancy Shawl dancers. Contemporary shawl dancers are spinning, kicking, twirling, leaping and traveling as fast and as furious as the men’s fancy dancers, but light on their feet. The goal is to look as if you are floating about the dance arena and barely ever touch the ground. Old style dancers are still quick on their feet, but there is usually less spinning involved. The focus is to marry intricate footwork with smooth shawling to make for a seamless performance.
There are two stories behind the Fancy Shawl Dance. One story says that the dance represents a butterfly emerging from a cocoon. While that is a poetically beautiful legend, most dancers agree that the Fancy Shawl dance grew from the Men’s Fancy style. Women in the 1950’s wanted to mimic the quick and complex footwork of the men, and thus a more feminine version was born utilizing a shawl instead of feather bustles.
Like Jingle, there are Contemporary and Old Style Fancy Shawl dancers. Contemporary shawl dancers are spinning, kicking, twirling, leaping and traveling as fast and as furious as the men’s fancy dancers, but light on their feet. The goal is to look as if you are floating about the dance arena and barely ever touch the ground. Old style dancers are still quick on their feet, but there is usually less spinning involved. The focus is to marry intricate footwork with smooth shawling to make for a seamless performance.
POW WOW 2014 - JUNIOR GIRLS JINGLE
SAMSON CREE NATION, (MASKWACIS, AB)
This healing dance comes from the Anishinabek people of Whitefish Bay where a young girl was gravely ill. One of the men received a dream where he saw the dresses, songs and dances that needed to be done for her. Women in the community made the dresses, drummers learned the song and some women were shown the steps to carry out what was given in the dream. As the dancers went around this young girl she started to recover and by the end of the night she was healed and up dancing with the women.
Today there are two kinds of competitive Jingle Dances; contemporary and old style. Contemporary dancers use complex but gentle footwork making the dance look effortless. They wear soft eagle plumes in their hair and raise eagle tail fans during honour beats to ‘lift up’ the prayers of the people. Old style jingle dancers don’t wear eagle feathers or sparkly materials to pay respect to the original intention of the dance. They are taught to always keep one foot touching the ground to show our connection to the earth and lift their hands during honour beats to raise the prayers of the people.
This healing dance comes from the Anishinabek people of Whitefish Bay where a young girl was gravely ill. One of the men received a dream where he saw the dresses, songs and dances that needed to be done for her. Women in the community made the dresses, drummers learned the song and some women were shown the steps to carry out what was given in the dream. As the dancers went around this young girl she started to recover and by the end of the night she was healed and up dancing with the women.
Today there are two kinds of competitive Jingle Dances; contemporary and old style. Contemporary dancers use complex but gentle footwork making the dance look effortless. They wear soft eagle plumes in their hair and raise eagle tail fans during honour beats to ‘lift up’ the prayers of the people. Old style jingle dancers don’t wear eagle feathers or sparkly materials to pay respect to the original intention of the dance. They are taught to always keep one foot touching the ground to show our connection to the earth and lift their hands during honour beats to raise the prayers of the people.
POW WOW 2014 - JUNIOR WOMEN'S FANCY
The Fancy Shawl dance is one of the most athletic dance styles. It is also the most recent, created to allow Native American women to express the same enthusiasm and show-style as the men's Fancy Dance. The dance has two steps: a regular dance, and a crow hop.
To dance this style requires flashy regalia, oftentimes with fully beaded yoke, hair clips, wrist cuffs, bracelets, and moccasins. Sequins can be used to create a flashier look. But the entire outfit hinges around the shawl, which has applique patterns, long, flowing ribbons, and serves as the centerpiece of the outfit--and the dance.
The dance is said to imitate the graceful, swooping beauty of a butterfly; therefore, dancers always hold at least one of their arms out, because a butterfly is never seen without at least one wing aloft. The dancers are judged for creativity and innovation in their dance steps. Rhythm and repetition adds a sense of order to the unique dance; if a dancer does a trick with one foot, they need to be able to do it with the other. If they dance to the left, they should be able to dance to the right. Often times, steps are repeated in sequences of four, to represent the four directions and balance.
The second step, the crow hop, is an imitation of the way a crow moves across the ground.
To dance this style requires flashy regalia, oftentimes with fully beaded yoke, hair clips, wrist cuffs, bracelets, and moccasins. Sequins can be used to create a flashier look. But the entire outfit hinges around the shawl, which has applique patterns, long, flowing ribbons, and serves as the centerpiece of the outfit--and the dance.
The dance is said to imitate the graceful, swooping beauty of a butterfly; therefore, dancers always hold at least one of their arms out, because a butterfly is never seen without at least one wing aloft. The dancers are judged for creativity and innovation in their dance steps. Rhythm and repetition adds a sense of order to the unique dance; if a dancer does a trick with one foot, they need to be able to do it with the other. If they dance to the left, they should be able to dance to the right. Often times, steps are repeated in sequences of four, to represent the four directions and balance.
The second step, the crow hop, is an imitation of the way a crow moves across the ground.
POW WOW 2014 - JUNIOR WOMEN'S JINGLE
The jingle dance is an innovative and rhythmic style which originated among the Chippewa in the early 1920s. Twisted Copenhagen can lids become cones which are sewn in rows or V shapes onto cloth or satin dresses. Accessories include a beaded or concho belt and a neck scarf. A purse or a dream catcher (sometimes both) held in one hand, and a feather fan in the other, which is raised on the honor beats in salute to the drum. Dancers often wear plumes in their hair, high top moccasins or beaded leggings, and other accessories such as beaded wrist cuffs and matching hair clips.
The jingle dance came from a medicine man’s dream, in which he saw women dancing gracefully with cones that shuffled softly from side to side. According to lore, the medicine man had a granddaughter who was gravely ill. He taught four women how to create the dress and dance the jingle dance, and had them dance in a circle around the little girl. The steps required that they never dance in a full circle, never dance backward, and never cross the ankles. Most of the dancing was done on the balls of the feet, shuffling back and forth to the beat of the drum.
In the story, the little girl who lay ill was at first unable to sit up or even move her head. By the second song of the dance, she sat up, and before the end of the night, she was so enraptured with the dancers that she was following them around the arena. Thus, the jingle dance is considered by some to be foremost a medicine dance.
Eventually, the dance style was given as a gift to the Lakota, and from there spread all across the nation. Today, it is yet another reminder of the beautiful and innovative dance styles that only First Nations people, with their keen sense of culture, tradition, and beauty, could have created.
The jingle dance came from a medicine man’s dream, in which he saw women dancing gracefully with cones that shuffled softly from side to side. According to lore, the medicine man had a granddaughter who was gravely ill. He taught four women how to create the dress and dance the jingle dance, and had them dance in a circle around the little girl. The steps required that they never dance in a full circle, never dance backward, and never cross the ankles. Most of the dancing was done on the balls of the feet, shuffling back and forth to the beat of the drum.
In the story, the little girl who lay ill was at first unable to sit up or even move her head. By the second song of the dance, she sat up, and before the end of the night, she was so enraptured with the dancers that she was following them around the arena. Thus, the jingle dance is considered by some to be foremost a medicine dance.
Eventually, the dance style was given as a gift to the Lakota, and from there spread all across the nation. Today, it is yet another reminder of the beautiful and innovative dance styles that only First Nations people, with their keen sense of culture, tradition, and beauty, could have created.
POW WOW 2014 - JUNIOR WOMEN'S TRADITIONAL
Southern Cloth and Buckskin dancers are very similar, so much so that in some powwows, southern cloth and buckskin dancers compete under the same category of Women’s Traditional. Both styles are, in a sense, meant to evoke the dignity and grace of our traditional First Nations women, and by dancing in this way, modern women honor women of the past.
Southern Cloth dancers wear a one or two-piece cloth dress. Dancers sometimes use shiny, satin material to accentuate the dressiness of the occasion. The dress is adorned with applique ribbon work in tribal designs and colors. She also wears a matching purse and shawl with long ribbon fringes. She holds an eagle feather fan at her waist, and accessorizes with a scarf at the neck. Sometimes, a dancer wears a beaded crown. She also wears an eagle feather or plume in her braided hair, and otter wraps that often drape down past the waist. The outfit is completed with beaded leggings and moccasins.
Buckskin dancers differ in that they wear tanned deer hide instead of cloth to make their dresses. Some buckskin dancers wear fully beaded dresses, while others use beadwork to accentuate the soft leather of their regalia. Newer dresses tend to have longer fringe. The rest of the accessories are the same, with the addition that buckskin dancers wear items on their belts meant to be indicative of early plains life--their beaded pouch often contains flint and awl, and they wear a knife sheet and a drag.
The dance at first seems, to the casual observer, deceptively simple. The dancer moves gracefully, taking very short, up-and-down steps. What the observer soon begins to notice, though, is the enormous amount of dignity, posture, and precision this dance requires. The dancer coordinates the swaying of the fringes on her shawl and purse while keeping her upper body stiff. Some dancers bow at the honor, or hard beats in the choruses of the songs out of respect for the drum. The woman’s traditional category is an essential tenant of the modern powwow, and a very honoring dance to participate in.
Southern Cloth dancers wear a one or two-piece cloth dress. Dancers sometimes use shiny, satin material to accentuate the dressiness of the occasion. The dress is adorned with applique ribbon work in tribal designs and colors. She also wears a matching purse and shawl with long ribbon fringes. She holds an eagle feather fan at her waist, and accessorizes with a scarf at the neck. Sometimes, a dancer wears a beaded crown. She also wears an eagle feather or plume in her braided hair, and otter wraps that often drape down past the waist. The outfit is completed with beaded leggings and moccasins.
Buckskin dancers differ in that they wear tanned deer hide instead of cloth to make their dresses. Some buckskin dancers wear fully beaded dresses, while others use beadwork to accentuate the soft leather of their regalia. Newer dresses tend to have longer fringe. The rest of the accessories are the same, with the addition that buckskin dancers wear items on their belts meant to be indicative of early plains life--their beaded pouch often contains flint and awl, and they wear a knife sheet and a drag.
The dance at first seems, to the casual observer, deceptively simple. The dancer moves gracefully, taking very short, up-and-down steps. What the observer soon begins to notice, though, is the enormous amount of dignity, posture, and precision this dance requires. The dancer coordinates the swaying of the fringes on her shawl and purse while keeping her upper body stiff. Some dancers bow at the honor, or hard beats in the choruses of the songs out of respect for the drum. The woman’s traditional category is an essential tenant of the modern powwow, and a very honoring dance to participate in.
POW WOW 2014 - SENIOR WOMEN'S GOLDEN AGE
POW WOW 2014 - SENIOR WOMEN'S JINGLE
The jingle dance is an innovative and rhythmic style which originated among the Chippewa in the early 1920s. Twisted Copenhagen can lids become cones which are sewn in rows or V shapes onto cloth or satin dresses. Accessories include a beaded or concho belt and a neck scarf. A purse or a dream catcher (sometimes both) held in one hand, and a feather fan in the other, which is raised on the honor beats in salute to the drum. Dancers often wear plumes in their hair, high top moccasins or beaded leggings, and other accessories such as beaded wrist cuffs and matching hair clips.
The jingle dance came from a medicine man’s dream, in which he saw women dancing gracefully with cones that shuffled softly from side to side. According to lore, the medicine man had a granddaughter who was gravely ill. He taught four women how to create the dress and dance the jingle dance, and had them dance in a circle around the little girl. The steps required that they never dance in a full circle, never dance backward, and never cross the ankles. Most of the dancing was done on the balls of the feet, shuffling back and forth to the beat of the drum.
In the story, the little girl who lay ill was at first unable to sit up or even move her head. By the second song of the dance, she sat up, and before the end of the night, she was so enraptured with the dancers that she was following them around the arena. Thus, the jingle dance is considered by some to be foremost a medicine dance.
Eventually, the dance style was given as a gift to the Lakota, and from there spread all across the nation. Today, it is yet another reminder of the beautiful and innovative dance styles that only First Nations people, with their keen sense of culture, tradition, and beauty, could have created.
The jingle dance came from a medicine man’s dream, in which he saw women dancing gracefully with cones that shuffled softly from side to side. According to lore, the medicine man had a granddaughter who was gravely ill. He taught four women how to create the dress and dance the jingle dance, and had them dance in a circle around the little girl. The steps required that they never dance in a full circle, never dance backward, and never cross the ankles. Most of the dancing was done on the balls of the feet, shuffling back and forth to the beat of the drum.
In the story, the little girl who lay ill was at first unable to sit up or even move her head. By the second song of the dance, she sat up, and before the end of the night, she was so enraptured with the dancers that she was following them around the arena. Thus, the jingle dance is considered by some to be foremost a medicine dance.
Eventually, the dance style was given as a gift to the Lakota, and from there spread all across the nation. Today, it is yet another reminder of the beautiful and innovative dance styles that only First Nations people, with their keen sense of culture, tradition, and beauty, could have created.
POW WOW 2014 - SENIOR WOMEN'S TRADITIONAL
Southern Cloth and Buckskin dancers are very similar, so much so that in some powwows, southern cloth and buckskin dancers compete under the same category of Women’s Traditional. Both styles are, in a sense, meant to evoke the dignity and grace of our traditional First Nations women, and by dancing in this way, modern women honor women of the past.
Southern Cloth dancers wear a one or two-piece cloth dress. Dancers sometimes use shiny, satin material to accentuate the dressiness of the occasion. The dress is adorned with applique ribbon work in tribal designs and colors. She also wears a matching purse and shawl with long ribbon fringes. She holds an eagle feather fan at her waist, and accessorizes with a scarf at the neck. Sometimes, a dancer wears a beaded crown. She also wears an eagle feather or plume in her braided hair, and otter wraps that often drape down past the waist. The outfit is completed with beaded leggings and moccasins.
Buckskin dancers differ in that they wear tanned deer hide instead of cloth to make their dresses. Some buckskin dancers wear fully beaded dresses, while others use beadwork to accentuate the soft leather of their regalia. Newer dresses tend to have longer fringe. The rest of the accessories are the same, with the addition that buckskin dancers wear items on their belts meant to be indicative of early plains life--their beaded pouch often contains flint and awl, and they wear a knife sheet and a drag.
The dance at first seems, to the casual observer, deceptively simple. The dancer moves gracefully, taking very short, up-and-down steps. What the observer soon begins to notice, though, is the enormous amount of dignity, posture, and precision this dance requires. The dancer coordinates the swaying of the fringes on her shawl and purse while keeping her upper body stiff. Some dancers bow at the honor, or hard beats in the choruses of the songs out of respect for the drum. The woman’s traditional category is an essential tenant of the modern powwow, and a very honoring dance to participate in.
Southern Cloth dancers wear a one or two-piece cloth dress. Dancers sometimes use shiny, satin material to accentuate the dressiness of the occasion. The dress is adorned with applique ribbon work in tribal designs and colors. She also wears a matching purse and shawl with long ribbon fringes. She holds an eagle feather fan at her waist, and accessorizes with a scarf at the neck. Sometimes, a dancer wears a beaded crown. She also wears an eagle feather or plume in her braided hair, and otter wraps that often drape down past the waist. The outfit is completed with beaded leggings and moccasins.
Buckskin dancers differ in that they wear tanned deer hide instead of cloth to make their dresses. Some buckskin dancers wear fully beaded dresses, while others use beadwork to accentuate the soft leather of their regalia. Newer dresses tend to have longer fringe. The rest of the accessories are the same, with the addition that buckskin dancers wear items on their belts meant to be indicative of early plains life--their beaded pouch often contains flint and awl, and they wear a knife sheet and a drag.
The dance at first seems, to the casual observer, deceptively simple. The dancer moves gracefully, taking very short, up-and-down steps. What the observer soon begins to notice, though, is the enormous amount of dignity, posture, and precision this dance requires. The dancer coordinates the swaying of the fringes on her shawl and purse while keeping her upper body stiff. Some dancers bow at the honor, or hard beats in the choruses of the songs out of respect for the drum. The woman’s traditional category is an essential tenant of the modern powwow, and a very honoring dance to participate in.
POW WOW 2014 - TEEN GIRLS FANCY
SAMSON CREE NATION, (MASKWACIS, AB)
There are two stories behind the Fancy Shawl Dance. One story says that the dance represents a butterfly emerging from a cocoon. While that is a poetically beautiful legend, most dancers agree that the Fancy Shawl dance grew from the Men’s Fancy style. Women in the 1950’s wanted to mimic the quick and complex footwork of the men, and thus a more feminine version was born utilizing a shawl instead of feather bustles.
Like Jingle, there are Contemporary and Old Style Fancy Shawl dancers. Contemporary shawl dancers are spinning, kicking, twirling, leaping and traveling as fast and as furious as the men’s fancy dancers, but light on their feet. The goal is to look as if you are floating about the dance arena and barely ever touch the ground. Old style dancers are still quick on their feet, but there is usually less spinning involved. The focus is to marry intricate footwork with smooth shawling to make for a seamless performance.
There are two stories behind the Fancy Shawl Dance. One story says that the dance represents a butterfly emerging from a cocoon. While that is a poetically beautiful legend, most dancers agree that the Fancy Shawl dance grew from the Men’s Fancy style. Women in the 1950’s wanted to mimic the quick and complex footwork of the men, and thus a more feminine version was born utilizing a shawl instead of feather bustles.
Like Jingle, there are Contemporary and Old Style Fancy Shawl dancers. Contemporary shawl dancers are spinning, kicking, twirling, leaping and traveling as fast and as furious as the men’s fancy dancers, but light on their feet. The goal is to look as if you are floating about the dance arena and barely ever touch the ground. Old style dancers are still quick on their feet, but there is usually less spinning involved. The focus is to marry intricate footwork with smooth shawling to make for a seamless performance.
POW WOW 2014 - WOMEN'S TRADITIONAL
SAMSON CREE NATION, (MASKWACIS, AB)
It looks easy enough, but when wearing regalia upwards of 40 lbs, the deep knee bends of a Women’s Traditional Dancer require a lot of leg strength, good balance and breath control. Scrubbing is a stationary dance style. Dancers bounce in place along in time with the drum turning ever so slightly. Some say scrubbing is the original women’s style of pow wow dance. When scrubbing the dancers are trying to keep those fringe tips snapping just right.
Walking style is when the dancers travel around the circle in deep knee bends, taking small steps forward. Dancers who use the walking style want to look smooth, controlled and elegant as their fringe sways in time to the drum. They sometimes recognize the strong beats of the drum, called honour beats, by either leaning forward or lifting their fan in the air – depending on what nation they come from.
It looks easy enough, but when wearing regalia upwards of 40 lbs, the deep knee bends of a Women’s Traditional Dancer require a lot of leg strength, good balance and breath control. Scrubbing is a stationary dance style. Dancers bounce in place along in time with the drum turning ever so slightly. Some say scrubbing is the original women’s style of pow wow dance. When scrubbing the dancers are trying to keep those fringe tips snapping just right.
Walking style is when the dancers travel around the circle in deep knee bends, taking small steps forward. Dancers who use the walking style want to look smooth, controlled and elegant as their fringe sways in time to the drum. They sometimes recognize the strong beats of the drum, called honour beats, by either leaning forward or lifting their fan in the air – depending on what nation they come from.
POW WOW 2014 - WOMEN'S JINGLE
SAMSON CREE NATION, (MASKWACIS, AB)
This healing dance comes from the Anishinabek people of Whitefish Bay where a young girl was gravely ill. One of the men received a dream where he saw the dresses, songs and dances that needed to be done for her. Women in the community made the dresses, drummers learned the song and some women were shown the steps to carry out what was given in the dream. As the dancers went around this young girl she started to recover and by the end of the night she was healed and up dancing with the women.
Today there are two kinds of competitive Jingle Dances; contemporary and old style. Contemporary dancers use complex but gentle footwork making the dance look effortless. They wear soft eagle plumes in their hair and raise eagle tail fans during honour beats to ‘lift up’ the prayers of the people. Old style jingle dancers don’t wear eagle feathers or sparkly materials to pay respect to the original intention of the dance. They are taught to always keep one foot touching the ground to show our connection to the earth and lift their hands during honour beats to raise the prayers of the people.
This healing dance comes from the Anishinabek people of Whitefish Bay where a young girl was gravely ill. One of the men received a dream where he saw the dresses, songs and dances that needed to be done for her. Women in the community made the dresses, drummers learned the song and some women were shown the steps to carry out what was given in the dream. As the dancers went around this young girl she started to recover and by the end of the night she was healed and up dancing with the women.
Today there are two kinds of competitive Jingle Dances; contemporary and old style. Contemporary dancers use complex but gentle footwork making the dance look effortless. They wear soft eagle plumes in their hair and raise eagle tail fans during honour beats to ‘lift up’ the prayers of the people. Old style jingle dancers don’t wear eagle feathers or sparkly materials to pay respect to the original intention of the dance. They are taught to always keep one foot touching the ground to show our connection to the earth and lift their hands during honour beats to raise the prayers of the people.
