Red Paint Powwow Revisited: Tygel Pinto

Tygel Pinto. Credit: Tygel Pinto

At the January 2013 Red Paint Powwow in Silver City, a young Navajo flutist, Tygel Pinto, got my attention.

When I thanked him for the pleasure his music gave me, he gave me his card and I looked online for examples of his music, but found none.

But now I have, and I'm happy to be able to share his work with you.

First, here's his story, which he told on a web-radio show a few months ago.

I like his blend of the traditional and contemporary.

Tygel comes across as a person with a warm personality, very engaging, so it's no surprise for me to read this. 

Good luck to Tygel.

Red Paint Powwow, Part 6: North and South and drum and Drum

Drum, Red Paint Powwow, Silver City, New Mexico

The Red Paint Powwow is an annual event in Silver City, New Mexico, hosted by the Chiricahua Apache. I attended the powwow on Saturday, January 19, 2013.


Part 6?! Who knew powwows were so complex? (And there's more to come!) 

I was surprised to hear the emcee refer to "northern" and "southern song" at the Red Paint Powwow. 

I thought I'd be doing one post on the northern/southern "song" and a separate post on "drumming," but it appears the two aren't really separable. I guess since the drummers are also the singers, it makes sense.

There were six Drums at the Red Paint Powwow. Until I researched this, I would have said there were six drumming groups, but apparently the group is the Drum in powwow parlance.

(I'll capitalize the word to denote the instrument and the accompanying group, and use small "d" to denote just the instrument.)

At the Red Paint Powwow, there was a host northern Drum ("Star Feather") and a host southern Drum ("Southern Outlawz").

Below is a video from Southern Outlawz:

And Star Feather:

I have my favorite - which is yours? 

The Drum immediately in front of me was called either "Cache Creek" or "Cash Creek." Since there was U.S. currency tucked into the group's instrument, maybe it was Cash Creek. I got kind of a smart-ass response from the Drum leader when I asked about the bills interspersed around the instrument.

The southern and northern songs have a different tonality and style as explained here: "Singing differs by region in that a high falsetto produced deep in one's throat is used in the north while in the south a lower range is used."

In the drumming, there is often a "faster beat in the north and a slower beat in the south." (From Encyclopedia of the Great Plains)

I invite you to listen again to the southern and northern Drums above and see if you can hear the higher v. lower and the faster v. slower.

I am happy to be learning more about powwows now so I'll be able to appreciate what I see and hear all the better when I go to the Gathering of Nations in April.

Red Paint Powwow, Part 5: Gaan Dancers

Gaan dancers from Mescalero. Alamogordo, New Mexico. Credit: John Bear

The Red Paint Powwow is an annual event in Silver City, New Mexico, hosted by the Chiricahua Apache. I attended the powwow on Saturday, January 19, 2013.

It's probably irreverent to say this, but I'll say it anyway - the Apache Gaan dancers are the coolest-looking.

Also known as Ga'an dancers, Crown dancers, or Mountain Spirit dancers, all of their dances are considered sacred.

Gaan dancers. Credit: SFMOMA

Amendment: I get the impression that in some venues, they modify their song and movements so as not to compromise the dancers'  responsibility to protect the sanctity of the Gaan rite.


The story

An excerpt from Native Peoples of the Southwest, Trudy Griffin Pierce, University of New Mexico Press, 2000, ISBN: 0-8263-1907-6:

"One of the most important holy beings for Apaches is White-Painted Woman, also known as Changing Woman or White Shell Woman. Her sons, Killer of Enemies and Child Born of Water, triumphed over the evils of the world personified as monsters, making the world safe for humans. The Mountain Spirits ensure the well-being of the people by protecting them from epidemic diseases and enemies. The Mountain Spirit Dancers or Crown Dancers "become" these sacred beings in the same way that the Hopi who dance specific katsinam become those katsina spirits. ... Their heads crowned with wooden slat headdresses, four Mountain Spirit Dancers and a clown wield their wooden swords as they dance around the fire. The bull-roarer, which is whirled on a length of string to produce a distinctive, resonating sound, drums, and singing accompany their dancing among the Western Apache. The bull-roarer is not used among the Eastern Apache."

Not mentioned above is the vocal sound made by some of the dancers at different intervals - to me, it sounds similar to, but not exactly, like a western screech owl. 

In the video below, from an Arizona event, you can hear both the bird (?) call and the so-called "bull-roarer." You'll hear the bird vocalization while the dancers first come out. You'll hear the start of the bull-roarer at :51.

The dancer with the bull-roarer is The Clown. From Native American Culture: About Apache Dances, an excerpt:

"There are five Crown Dancers, including four masked dancers representing the directions of north, south, east, and west. The fifth dancer is the clown, who protects the others by driving away evil spirits with the sound of his humming bull-roarer, a thin piece of wood suspended from a string and swung in a circle."

To fully address the role of the Clown in Navajo, Apache, and indeed, many cultures (though perhaps not specifically referred to as a clown), I'd need to just hand over a book. Or books. Tony Hillerman centers one of his books around clowns in Sacred Clowns.

As to Apache tradition, in this excerpt from The Clown's Way, by Barbara Tedlock:

"The Jicarilla Apache, however, did not see this sunlight world purely good, but as containing disease; the clown that led them out of the dark earth (thought of as perfectly spiritual and holy) was equipped with a “horrible non-human laugh” which scared way the sickness on the earth’s surface. In this origin story we learn a basic curing technique which is still practiced today by clowns in many tribes. Just as these Apache clowns kept smallpox and other epidemics away from the people with their sudden terrifying laugh, the Assiniboine, Plains Cree, and Plains Ojibwa clowns scare disease out of the people. Navajo clowns during their Mud Dance all of a sudden stop dancing and rush up to a sick person and lift him high above their heads, sometimes tossing him into the air.”

I'm wondering if the rodeo clown derives from the Southwestern Indians' use of the clown in their spiritual tradition. After all, the purpose of the rodeo clown is to protect the riders from the bulls or horses, is it not? Huh, this resource implies not, but when I read the full description, it would seem the rodeo clowns share much in common with that of the Indian clown, although without the spiritual dimension.

Gaan dancers, 1887. Credit: First People

The crown

Another excerpt from Native American Culture: About Apache Dances:   

"The dancers decide what symbols to put on their crowns. Symbols often honor forms in nature, and many crowns include the Apache cross to signify the four sacred directions. Some crown headdresses are adorned with eagle feathers, because the eagle is sacred to the Apache. ..."

 

St. Joseph Apache Mission Church, Mescalero, New Mexico

My understanding is that the crown itself evokes antlers.



I liked how the St. Joseph Apache Mission Church in Mescalero incorporated traditional crown design.  















Noah Nez, the Native Skeptic, offers a thorough overview on Gaan dancers from both a personal and academic perspective. I found several of the sources for my post by visiting his essay.


My experience

The Gaan dancers are dramatic. With their bodies painted white or black, with contrasting color symbols, masked faces, the crown, swords, and the bird call .....whew. Very cool.

The emcee did not instruct the audience to forego photography during the Gaan dance, which he did for the gourd dance. I filmed the dancers as they came into the arena, and the gentleman next to me, a gourd dancer, asked that I not film them. I chose to honor his request, out of respect for him. I had watched as he'd very carefully placed his gourd-dance items into the specially-made wooden box, one at at time, each in a prescribed spot and placement. I saw memorial flyers on the inside of the box lid, honoring two deceased individuals he obviously held in esteem.

I'm looking forward to the summer, when the Mescalero Apaches allow non-Apaches to be guests at part of the girls' puberty rite in Mescalero, and when the Gaan dancers will perform.

Red Paint Powwow, Part 4: The Grand Entry

Red Paint Powwow, Silver City, New Mexico

The Red Paint Powwow is an annual event in Silver City, New Mexico, hosted by the Chiricahua Apache. I attended the powwow on Saturday, January 19, 2013.

The Grand Entry is the most exhilarating event at a powwow, yes? All of the colors, the dance, the sounds, the sheer volume of the sensory feast make it so.

With a front-row seat, I had almost too good a view, as I found that my camera couldn't capture the entire person before me - his face and his regalia and his footwork. This turned out to be a benefit, actually, because in having to choose between a performer's face/regalia and his footwork, I often chose the footwork, something that might otherwise have been overlooked due to the competing beauty of the attire.

The Grand Entry video requires a bit of a time investment, so I'll highlight some points along the way.

First, notice that the audience stands during the Grand Entry.

At 1:18: Note that the Color Guard is among the first entrants. First flag? The American flag. Honored members of the Grand Entry? Veterans. Publicly-displayed respect for veterans seems to be a prominent feature in New Mexican communities with a large Indian population.

At 1:46: See the POW-MIA flag? I was startled at first, but then not, to learn that because Indians were prisoners of war at various times and places in the U.S., the significance of the POW-MIA flag goes beyond what most Americans think of when we see this flag. (I wonder if there are Americans of Japanese descent who feel the same.)

At 2:14: The White Eagle Gourd Dance Society members.

At 2:22: The "Chinese Hopi" and Miss Mescalero Apache.  

 
At 5:39: Appears a woman whose attire is dazzling in the color and intricacy of its beadwork and her footwork - it is such a cliche, but true: Her dance steps are so light, they are like that of a beautiful deer. What she makes appear so effortless in the airiness of her steps must be very tiring.

As  you might expect, the performers fall along a continuum between full body-mind focus into their dance on one end and bored, going (barely) through the motions on the other.

Red Paint Powwow, Silver City, New Mexico

Red Paint Powwow, New Mexico, Part 3: The Gourd Dance

Gourd dancer. Credit: Tyrone Wilson(pictured) and Kevin Anderson (photographer)

The Red Paint Powwow is an annual event in Silver City, New Mexico, hosted by the Chiricahua Apache. I attended the powwow on Saturday, January 19, 2013.



The White Eagle Gourd Society performed the gourd dance on several occasions during the powwow.

Gourd dancers. Credit: Powwow.com

The story behind the gourd dance

The generally-accepted story is this, which I excerpted from The Daily Times (Farmington, NM):

"Legend has it that a Kiowa warrior was trying to find his way back to his village when he heard a melody from the other side of a hill. He went to the top of the hill and peered down, where he saw Red Wolf bouncing up and down on his haunches. The wolf had a fan in his left hand and a rattle in his right. He was singing melodies, and at the end of each song, he raised his rattle to the sky, shook it and let out a howl. At dawn, Red Wolf told the warrior the songs were a gift to the people so they could continue honoring their warriors...."

The Navajo and other groups have adopted the gourd dance from the Kiowa, who are based in Oklahoma.  Here is a lively discussion about the dance's origins and who "owns" the dance. There are a few jibes directed at the Navajo. 

Gourd dancers. Credit: Red Star Intertribal Gourd Dance Society.

Dance attire

The Golden State Gourd Society explains thoroughly about appropriate dress for the gourd dance: 

"... If the dancer does not have traditional clothing he should wear dress pants, a plain long sleeve colored dress shirt and moccasins. No cowboy hats, ball caps, boots or tennis shoes should be worn, but dress shoes are acceptable.  Other articles that should be worn are a bandolier made of two strands of mescal and silver beads draped over the left shoulder, crossing the heart and bound together at the right hip.  A sash, usually made of velvet with beaded trim on the ends, should be around the waist and tied at the right hip.  A red and blue blanket should be draped over the shoulders or worn over the right shoulder and held together over the arms at the left hip.  ... Gourds used today are natural gourds, German silver, milk cans, salt and pepper shakers or baking powder cans, which are painted for decoration.  The handles are usually decorated with beads and rolled fringe, with horse hair and assorted feathers adorning the tip.  A fan is carried in the opposite hand.  ...."

At the Red Paint Powwow, the emcee explained that veterans could wear veterans' caps or berets while they participated in the gourd dance, but otherwise dancers could not wear modern-day hats.

Choctaw gourd dancers, James family, Oklahoma. Credit: Choctaw Nation of Oklahoma.

From article, For Tribe and Country, three generations deep in tradition: "'It’s very spiritual,'” says Michael [James]. “'Like a prayer in movement, the positive vibration, the drumming. It’s like singing a hymn in church. I feel a connection to earth and sky, like it’s all interwoven during the gourd dancing.'”

What the dance is like

The gourd dance and the trance dance of the "whirling dervishes" share characteristics. There is a building-up of sound and beat and rhythm as the participants warm up to the mind-body prayer that is the trance dance or the gourd dance.  

First came drumming, with singing. The gourd dancers at this time remained in the audience. After a time of drumming, I noted that some men in the audience began to shake their hand-held gourd instruments. (A man seated next to me was a gourd dancer.)

Presently, the gourd dancers stood in place and shook their gourds to the drumming and the singers.

With changes to the drumming and singing, the gourd dancers moved into the dance arena, with small steps and gourd shakes. When the drums rose to a crescendo, the dancers froze in place, then moved again when the drumming calmed. 

After awhile, I noticed a few women who moved to the perimeter of the dance arena. They bent their knees in concert with the drum beats.

Again, the Golden State Gourd Society helps out with a fine description:

"The Gourd Dance is a dance of dignity and pride. As the dance begins, the dancers are seated around the arena.  As the starting song is sung, the seated dancers begin to shake their gourds to the beat of the drum, but do not dance to the first song.  As the song ends the dancers give a howl/yell at the end of the song.  As the tempo increases, during the second song, the dancers rise from their chairs.  The dancers step in place or walk in time with the music during the slow beat of the drum, moving freely around the arena. Once the tempo changes, they once again stand in place and dance to the beat of the drum, shaking their gourd. 

"When the song ends, the dancer raises his gourd and shakes it vigorously ending with a howl/yell (honoring the Red Wolf) and waits for the next song to begin.  Songs are usually sung in sets of four (this is left to the discretion of the head singer) and the dancers do not sit down again until the full set of gourd dance songs has ended or they are dismissed.

"Once the gourd dancers start to dance, the women take their places behind the men, dancing in place, in the outer arena.  The women never start dancing before the men and never walk in front of the dancers. ...."

As with similar dances, there are moments of intense interest, moments of boredom and distraction, and moments of flow as one merges into the sound and the movement.  Dances like these take time to sink into one's body and head. 

An idea I find so fascinating is how certain tonalities and rhythms affect our brain. I think of the man who wrote a book about his experiences as an expedition doctor. He began the book with the story of a Tibetan sherpa who had seriously injured his head on a climb. The man's injury was such that it was virtually certain to be fatal. But his companions had come to the medical tent (or they sent monks?) to chant non-stop, day and night, in the man's tent while he lay there, unresponsive. The author was amazed to realize that, over the course of many hours, the man began to recover. Evidently, the qualities of the sound caused healing changes in the man's brain.


 

Red Paint Powwow, New Mexico, Part 2: The Chinese Hopi

Miao girls, China. Source: The source is no longer a safe URL; removed from this post.

The Red Paint Powwow is an annual event in Silver City, New Mexico, hosted by the Chiricahua Apache. I attended the powwow on Saturday, January 19, 2013.

I saw many styles of attire at the Red Paint Powwow. But one woman's regalia drew my attention because she was dressed like no one else. I picked through my mental file cabinet. Result:

 "No file found." 

I was eager for this mystery to be solved as the day unfolded.

In the afternoon, the emcee, Otis Half Moon, called up various powwow dignitaries for recognition in front of the dais. Among them were the "royalty."

Two young women came forward. One was a teen from Tularosa, Miss Mescalero Apache, I believe. She gave a sweet talk about what she wants to accomplish during her reign. 

The other young woman was the person whose attire I didn't recognize. She explained that she was a member of a minority tribe in China, and that when she came to the U.S., she was homesick. Her husband somehow connected her to a Hopi community and she felt an immediate kinship: "I saw my brothers and sisters!" And she felt she'd found a home with the Hopi.

Obviously, her American Hopi brothers and sisters feel the same, as she was an honored guest at the powwow. 

It was very moving.

Miao woman, China. Credit: Bowers Museum.

 

By the way, the Hopi apparently have their own version of Revelations in which Elder Brother (as represented by China, India, Africa, and Islamic nations) will rejoin with Younger Brother (the Hopi) after the United States (except for Hopi lands) is destroyed by atomic bombs and radioactivity.

Red Paint Powwow, New Mexico, Part 1: Golden Eagle

Golden eagle, Red Paint Powwow, Silver City, New Mexico

The Red Paint Powwow is an annual event in Silver City, New Mexico, hosted by the Chiricahua Apache. I attended the powwow on Saturday, January 19, 2013.

There was a golden eagle at the powwow


The golden eagle plays a sacred role in the traditional Apache belief system (in addition to Hopi, Navajo, and other groups).

James Rodgers, a falconer, brought his golden eagle to the powwow at the invitation of the powwow organizers. Mr. Rodgers explained to me and a little group surrounding him that many Apache have never seen a golden eagle up close like this. A number of the Indians, he said, come to see the golden eagle with corn pollen in their hands, which they sprinkle on the eagle's feet and back as a blessing. I later saw one of the powwow leaders do exactly that.

Side bar on corn pollen

Corn pollen. Credit: Colorado College

Here is a nice explanation of the importance of corn pollen in Navajo spiritual life. Apache people also have a reverence for corn pollen. (Indeed, Apache and Navajo are related.) If I understand correctly, the "corn pollen way" is the same as "the beauty way."

Below is a song called Corn Pollen Road by Louie Gonnie (who was featured in the documentary, Sun Kissed, that I talked about a couple of weeks ago).

(However, note that although the song is called the Corn Pollen Road, there is a school of faith called the Corn Pollen Way that is different from the school of faith called the Native American Church, and Mr. Gonnie is a member of the latter. Be that as it may, corn pollen has a place in both the cultural/spiritual and religious denomination/spiritual realms. Note also that I only barely have a grasp on any of this.)

Who can own a living golden eagle?

A woman asked Mr. Rodgers if he had a license to own the eagle, and he assured her that not only did he have a license, it was in his pocket.  And he told the story of how he came to own this golden eagle.

Golden eagle ownership in the U.S. is governed by federal law. 

Per Mr. Rodgers, a falconer can obtain a license to own a golden eagle through the depredation program. As I understand it - and I am discouraged that I can't find a clearly laid-out explanation of same online - if a rancher, for example, makes, through repeated complaints, a successful claim to the feds that his/her livestock is being depredated by a golden eagle, then a falconer on a waiting list can gain access to the offending bird. But only if it is an adolescent - can't be a mature adult; can't be younger than a certain age. Also, the falconer must trap the bird him/herself, and only when accompanied by a federal agent.

Mr. Rodgers reported that it took a week for him to trap his golden eagle.


Who can own parts of a golden eagle?

"It is illegal for any individual to possess a bald or golden eagle, including its parts (feathers, feet, etc)." Source: National Eagle Repository.

But there is the National Eagle Repository, which distributes eagle parts (not kidding) of found-dead eagles to "qualified Native Americans for use in religious Indian ceremonies."

 "Qualified" is important. You cannot grant yourself legal identity as a "Native American" just because you say so. You need to prove it in accordance with federal or tribal regulations.

The powwow emcee was very careful to state that many of the feathers worn by the powwow participants had been handed down through the generations.



What about the Hopis? 

I see conflicting information on the web about Hopis being able to collect live golden eagles and sacrificing them as part of a religious act or using any of their parts (i.e. feathers).

But I'm not confused about the fact that one can't "take" a golden eagle just because one is Hopi. A Hopi must have a permit to do so.