1 50 4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian Magazine Subject The topic of the resource First Nations--Saskatchewan--Periodicals Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1970/2011 Rights Information about rights held in and over the resource In Copyright Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1970/2011 Description An account of the resource The <em>Saskatchewan Indian</em> was the official publication of the Federation of Saskatchewan Indian Nations and served as an effective communication vehicle for the First Nations in the province of Saskatchewan between 1970-2011. It provided coverage of people, issues and events both entertaining and informative throughout First Nation communities. The magazine was distributed to all First Nation communities in Saskatchewan and to all First Nation groups, organizations and institutions throughout the duration of its publication. Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre<br />#305 - 2555 Grasswood Road East<br />Saskatoon, Saskatchewan S7T-0K1<br /><br />Phone: (306) 244-1146<br />Email: library.services@sicc.sk.ca<br />Website: <a href="https://www.sicc.sk.ca/" target="_blank" title="Saskatchewan Indigenous Cultural Centre" rel="noreferrer noopener">https://www.sicc.sk.ca/</a> Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Newspaper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian, vol. 23, no. 3 (April 1994) Subject The topic of the resource First Nations--Saskatchewan--Periodicals Description An account of the resource Contents: Lac La Ronge Child Family Services Agreement Signed By: Saskatchewan Indian April 1994 Annual Gathering Of Elders Workshop Hosted By Cultural Centre By: Saskatchewan Indian April 1994 Federation Of Saskatchewan Indian Nations Tribal Justice Systems Symposium By: Saskatchewan Indian April 1994 First Nations Sign Policing Agreement Saskatchewan's first community tripartite agreement for RCMP First Nations Community Policing Service was signed today by Saskatchewan Justice Minister Bob Mitchell, Chief Blaine Favel of Poundmaker First nation, Chief Ron Thunder of the Little Pine First Nation and Gordon Kirkby, MP for Prince Albert Churchill River. By: Saskatchewan Indian April 1994 Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1994-04 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Rights Information about rights held in and over the resource In Copyright Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1994-04 Elders Saskatchewan Indigenous Cultural Centre Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian Magazine Subject The topic of the resource First Nations--Saskatchewan--Periodicals Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1970/2011 Rights Information about rights held in and over the resource In Copyright Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1970/2011 Description An account of the resource The <em>Saskatchewan Indian</em> was the official publication of the Federation of Saskatchewan Indian Nations and served as an effective communication vehicle for the First Nations in the province of Saskatchewan between 1970-2011. It provided coverage of people, issues and events both entertaining and informative throughout First Nation communities. The magazine was distributed to all First Nation communities in Saskatchewan and to all First Nation groups, organizations and institutions throughout the duration of its publication. Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre<br />#305 - 2555 Grasswood Road East<br />Saskatoon, Saskatchewan S7T-0K1<br /><br />Phone: (306) 244-1146<br />Email: library.services@sicc.sk.ca<br />Website: <a href="https://www.sicc.sk.ca/" target="_blank" title="Saskatchewan Indigenous Cultural Centre" rel="noreferrer noopener">https://www.sicc.sk.ca/</a> Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Newspaper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian, vol. 21, no. 3 (May 1992) Subject The topic of the resource First Nations--Saskatchewan--Periodicals Description An account of the resource Contents: Citizen Of The Year: An Inspiration To All By: Lorie-Ann LaRocque Freda Ahenakew. The sixty year old Cree woman, whose family hails from the Muskeg Lake Reserve, Saskatchewan, became the proud recipient of the prestigious award during the FSIN All Chiefs Legislative Assembly, April 30, 1992. May 1992 The FSIN Appoints Two Senators By: Lorie-Ann LaRocque The new Elder statespeople are Simon Robillard of the Black Lake Indian Band and Alpha LaFond of the Muskeg Lake Indian Band. Each will serve the FSIN on an advisory level and partake in the socio-economic and political development of his and her community. May 1992 New Generation Of Leaders - Ovide Mercredi By: FSIN May 1992 Carry The Kettle Elder Dies At Age 79 By: Martha Ironstar The Nakota Oyate gathered recently at Carry The Kettle gym for a traditional feast to mark the passing of a well respected Assiniboine Elder, Douglas O'Watch. May 1992 Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1992-05 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Larocque, Lorie-Ann Rights Information about rights held in and over the resource In Copyright Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1992-05 Carry the Kettle Nakoda Nation Elders https://d1y502jg6fpugt.cloudfront.net/25945/archive/files/496713d8d43f92c92398082925622f22.pdf?Expires=1790208000&Signature=GJp7HUHvjSsCqFZuNHYvw5ayrWTAyCh9enwpXowucU2dT%7EgkbpwD6mtOc5hsWMlLZ2mIGDcNHslRL7hb%7E5-WhJnOmVeDFhb8XrwUDQEo0quVcjuydwP-glJBMhpJzeamNml2zrw9AvRIeZgoJPO2CLkDN1JYcg-F9fpB-HiSghE35ZU3TtuOTvJ-Qq3uME9yrm4aUaK3PGTVxMKMwZF7XejYi6EC17S7NRa1-8MMtTAmN8sC1IxB3S1lbKRCThH3GWpeIcOc2hIJM-Mnm0RGHLFj3IMcbOSTYqnHuwDnTCAu0qYjJOeRcI5pfo5dfrSar9ysDuk2OH7PfNw8ah7wPQ__&Key-Pair-Id=K6UGZS9ZTDSZM c4dbb51b3b2a4eef0a65ed44bc03b7e1 PDF Text Text �Slowdown Watch for Wildlife Half of Saskatchewan's highway collisions involve wild animals. These accidents mean fatalities , injuries , millions of dollars in property damage and loss of wildl ife. Driver caution and awareness of animals are the best ways to prevent accidents. ■ Saskatchewan Highways and Transportation �s AS KAT -· C H E WAN A- Vol. 27 #2 Special Powwow Issue June 1997 IN THIS ISSUE Prayer .......................................................................................................................3 Cultural Content Editor .........................................................................................4 Cover Artist .....................................: .......................................................................5 An Eider's View of Powwow ..................................................................................6 Powwow l'ypes ........................................................................................................7 Powwow Singing Styles .........................................................................................9 Honour Songs ........................................................................................................9 SIFC 19th Annual Powwow ................................................................................. 10 SIFC 19th Annual Powwow Winners' Circle ....................................................... 11 Lily Daniels ........................................................................................................... 12 Blackstone Singers Win Contemporary World Championships ..................................................................................................... 14 High Noon Singers Win World Championship ................................................. 15 Men's Northern Traditional Dance ..................................................................... 16 The Grass Dance .................................................................................................. 17 ON THECOVER: PAINTINGasPIRITWOMAN" ARTIST: LORNECA:PPO The Master of Ceremonies ................................................................................. 18 The New Tradition of Powwow Princesses ........................................................ 19 The History of Beads ...........................................................................................20 Onion Lake Hosts lnterschool Powwow ............................................................22 Treaty Day Celebration at Witchekan Lake ......................................................23 The Arena Director. ..............................................................................................25 Life on the Trail ....................................................................................................25 Hoop Dance ..........................................................................................................27 Men's Fancy Dance ..............................................................................................27 Women's Traditional Dance ................................................................................28 Women's Fancy Shawl Dance .............................................................................28 Women's Jingle Dress Dance ..............................................................................29 FSIN Royalty .........................................................................................................30 Our Children .........................................................................................................35 Special Thanks .....................................................................................................36 Saskatchewan Indianis published by the Federation of Saskatchewan Indian Nations . Editors: Lori Bateman , Delbert Wapass; Desktop Publisher : Jocelyne Wasacase Copyright 1997. All rights reserved . ISSN 0048-9204 Saskatchewan Indian Advertizing Sales : Dale Johnson (306) 652-8557 Printed in Saskatchewan by PrintWest Special Powwow Issue June 1997 SASKATCHEWAN Hllti.A �7 I --------- f Meado.wLake'firsf:Nalions 1997 , I Famit1JConference t I June 29, 30 & f f 1ul1J.1 & 2, 1997 f • Mission Grounds r Lac La Plon9-e,Saskatchewan f I "Lettin9 90 of the Past, I I lookin9 to the Future" I Who Should Attend? Anyone who has attended or worked (or their families) at the Beauval Indian Residential School between 1900 and 1995. , lja Come and participate .. in our healing and wellness initiative. , .. .. , ,fl , Visit with friends from the past and your relatives. Join us for an Indian fish fry & "le-bang", .. .. .. , or bannock and beans . Dance your moccasins to the beat of the traditional fiddle music and square dancing. drum, Children and youth are encouraged to attend and participate in traditional games such as Indian rubber ball and three legged races. NO CONFERENCE FEESREQUIRED JUST BRING YOUR OWN CAMPING GEAR AND GRUB For more information please contact : Your local First Nation Wellness Worker or Dorah Montgrande, Tom Iron, Eli Opekokew, or Marcia Mirasty at 236-5817 Doris Woods at 235-4264. .. ,fl , , , �.SA~MlCt10rANIMJIANCUllUttALGOH~[ LIBRARY DEPARTMENT 5 0 l20- 33r:d S.T.REETEAS-T U&AIOON, S.-ASKATCHfW• .. Great Spirit - - - �CULTURAL CONTENTEDITOR:DELBERT WAPASS The 1st Annual Saskatchewan Indian Powwow Edition features Delbert Wapass as the Cultural Content Editor. Delbert took great pains to ensure that the material he contributed on powwow history, dance styles and singing styles was accurate with regard to First Nations oral traditions. Delbert started as a Grass dancer when he was a youth on the Thunderchild First Nation. He says that because he did not have an outfit of his own, he danced whenever one became available to him. His real motivation came when he was slightly older. Delbert credits Melvin Thunderchild and his pare nts for having inspired him to continue to dan ce . He says that Melvin taught him to dance and loaned him some regalia to complete his outfit. Now, at 28 years of age , Delbert has become an accomplished Grass dancer. He follows the pow wow trail in the summer throughout Canada and the United States, frequently accompanied by his wife and four children. Delbert has danced in Europe at the World Trade Show and in Hawaii. He was invited to perform at the 1996 Olympics in Atlanta , Georgia but was forced to decline due to prior commitments . Delbert has also competed at the Mashantucket Pequot Nation World Championship Powwow in Hartford , Connecticut . Recently, he won the Grass dance category at this prestigious event. Delbert has also served as Head Arena Director at powwows in St. Petersburg , Florida, the Hinckley Grand Casino in Minnesota and the Red Earth Celebration in Oklahoma City. When he is not on the powwow trail, Delbert is a teacher at Chief Poundmaker School. He received his Bachelo r of Education through ITEP at the University of Saskatchewan. He also has a Bachelor of Arts in Native Studies from the Saskatchewan Indian Federated College. Although he teaches a variety of subjects, the cultural classes remain his priority. His culture is an important part of his life and he respects it by abstaining from drugs and alcohol. Delbert says that his main goal for future gen erations is to ensure that there is enough First Nation curriculum in the province , in both city and reserve schools , to preserve the traditional First Nation way of life . ~ The Saskatchewan Ind ian and M et is Affairs Secretariat (SIMAS) has a mandate to promote and facilitate part nersh ips between Abor iginal and nonAboriginal peoples to achieve common goals. In additio n to serving as a single 11window 11 into government for Indian and Metis peoples, t h~ Secretariat co -ordinates and implements the Province's obligations with 28 First Natio ns and Canada under the Saskatchewan Treaty Land Entitleme nt Agree ments. Another area in w hich SIMAS is active is the Abor igina l Employment Deve lopment Program . This Program fac il itates emp loyment opportunities by promoting partners hi p agreements amo ng Abor iginal peop les and public and private employers. For more information on the Saskatchewan Indian and Metis Affairs Secretariat please call (306) 787-5722 II 4 Joanne Crofford M inister of India n and Met is Affa irs SASKATCHEWAN 11lilHiHA- or visit our web page at http://www.gov.sk.ca/govt/indmet/ Special Powwow Issue June I 997 �COVERARTISTLORNECAPPO Lorne Cappo is a member of the Muscowpetung First Nation . His early years were spent with his grandmother . She taught him about First Nations culture and the importance of knowing the tradition~ al ways . "These early years with her have had a great impact on my work as well as my every day life," Cappo says. "Her influence will continue to sur~ face through my work as well as my life ." Cappo says that he never had the oppor~ tunity to develop his talent while he was growing up. It was later in life that an experience pushed him in that direction. At 22 years of age, he started to look seriously at art and thought maybe he was wasting his time . Despite his doubts, Cappo con~ tinued working on his artwork. He says that after all the work is done, it feels good to hear someone say, "You've done a good job." This is why he encourages other artists just starting out to stay with it when times are discouraging. "Ten years later I'm still learning, " he says. Lorne Cappo is presently sub~ mitting a piece to the Saskatchewan Indian Cultural Centre in Saskatoon for their 1998 calendar. The piece is entitled "Almighty Voice". He is also now looking for someone who would be interested in helping him mar~ ket his work. " A CELEBRATIONOF CULTURE Preservingour heritage is an importantpart of who we are. An integral part of Saskatchewan's proudheritage is the aboriginalculture. SGICANADAapplaudsthe hard work and dedication that goes into organizingpow-wows, which enable everyoneto share and experience the vibrant dances and beautiful, traditional dress. A,t SGI CANADAwe have established a tradition of supporting culture throughout the province. We invite everyone to make a point of attending the celebration of culture. :"i i:,·, ! Special ,· SS///// C/JNLJDLJ -"t' Powwow Issue June 1997 SASKATCHEWAN ■ U.11 5 �AN ELDER'SVIEWOF POWWOW Senator BillStandingready Senator Bill Standingready of the Whitebear First Nation has be en a Senator of the Federation of Saskatchewan Indian Nations fo r I 5 years . Before being appointed to this position, Senator Standingready was Chief of the Whitebear First Nation for 20 years . Senator Standingread y recent ly discussed the protocol of long ago powwows with Saskatchewan Indian. He touched on singing , songs , dancing and, finally , money. According to Senator Standingready , Whitebear First Nation had powwows every weekend. It was easy to do this , he said, because Whitebear had four drums on its reserve. As time moved on, there became three established powwows which people would attend. These powwows are Standing Buffalo, Sioux Valley and Whitebear. 6 SASKATCHEWAN Senator Standingready said that powwow was not hard to start for these three groups because of the background of the reserves and the fact that they lived close to the USA border . As for the northern people, they had their own dance which was known _as the Veterans Dance (macisimowin). As the veterans would return from war, families would show their gratitude by celebrating the return of their warriors. This type of celebration would last for about one week. Powwow songs of old were as beautiful to listen to as they are now said Senator Standingready. He knows this from firsthand experience as Senator Standingready is a singer himself. He was taught to sing by his parents and was initiated into the powwow circle. Songs long ago had words in them . People who made songs sang about whatever they wanted . Today, when Senator Standingready goes to powwows, he hears some of these old songs , plus a lot of new ones . Although there are many new songs, some of which are fancied up , they are still traditional , or iginal-style songs . There should be no distinc tion of songs. Long ago , the old people did not do that. Senator Standingready believes that people should not be part of the drum until they are 16 or 17 years old. The reason for this is that children can get hurt from the spirits surrounding the drum or from one of the singers using their dreams to do so. There are enough older people to carry on the singing, he said, and these young people will have their chance. Initiations are very important to do before a dancer starts dancing. One should pay what he or she can to be part of this circle. It is the parents that should do this for their children . All parents should do this . During the initiation, an Elder will pray that the child is looked after during his time of dance . After the initiation, that person should not be scared to go anywhere and dance. "There is always this talk about money at powwows, and I hear many people say that money changes the sacredness of the powwow. I don't believe this ," Senator Standingready said . "I think that it is a good thing for money to be involved because this is what helps people to travel as far as they can to support other First Nations across Canada and the United States . But , it is important that people understand why mone y is being involved and to respect it ." "The other purpose mone y serves at a powwow is t o attrac t the good dancers and singe rs to the powwow ," said Senator Standingready. "One should look at the arrival of dancers from all over the country as a blessing. " It is important that we get the Elders views on issues such as this, because it is what helps to set the story straight and get the originality and tradition of powwow flowing the right way once again . Special Powwow Issue June 1997 �-· ..................... •► PowwowTypes Powwows today are grouped into three classifications: traditional powwows, contemporary powwows and contest powwows. These three different styles of powwows share almost all characteristics. They have very similar purposes and follow the same protocol. There are only a few details that differentiate these powwows but they are very important. A traditional powwow has a relaxing yet ceremonial atmos- · phere. They are usually, but not always, the smaller of the three types of powwows . A traditional powwow can be considered a ceremony. At the beginning of each day, a Pipe Ceremony introduces the events of the day . This is always the first event of each day. After that , rations are usually given out to each camp. Traditional powwows do not have organized contests for each dance category . However , each category is given the opportunity to dance an exhibi tion . Most communities that host traditional powwows pay an honourary allowance to their visiting dancers. The communities also have a tribal giveaway . And they have a feast to show their hospitality and to honour their guests . Spe cial Powwow Issue lun e 1997 Although there are no contests for dance categories, a family or individual may sponsor a special contest for one or possibly two categories. These special contests are usually done in memory of an individual or in honour of a successful membe r of the community. A contemporary powwow is very similar to a traditional powwow . lt also starts each day with a Pipe ceremony and some will also supply rations. It has a sociable atmosphere and is con sidered to be ceremonial. The major char acteristic that differentiates the contemporary from the traditional p OW • that contests are held for all dance categories. These contests are expected and have a specified amount of money offered as prizes. The contemporary powwow offers prize money to attract visitors and dancers to the community. It is an honour and a blessing for a community to be a host to , many good dancers and singers. The fact that communities offer prizes at their powwows enables many people, who otherwise would not be able to attend, to travel to powwows. Winning at (continuedon page8) . ,.·.f,-' ' ·..,,. ···.··.····.· ... ··.·•.'#·····:.·~. ~ '': /\.. ,;,;;/':,/ •. '•..••.•.. . 4~! .~ SASKATCHEWAN i~~iAt.1 7 �a powwow can cover the expense of travel, vehicle costs and some of the expenses of supporting a family. A contest powwow is the newest categories of powwow . These powwows are not often considered to be ceremonial. They are often hosted by casinos or universities . These powwows have a very competitive atmosphere as all the dancers dance to the best of their ability. Dancers at these powwows always wear their best regalia and sometimes even make new outfits specifically for the occasion. 'f}~ 'r~ 8 SASKATCHEWAN ·it..i;»i~~ Special Powwow Issue June 1997 �POWWOWSINGING STYLES .. . . Powwow music, whether recorded or live, creates a feeling ~- r of contentment in many of its lis• -~- .:1 teners . It takes great skill and knowledge to be able to make a song. The songs that are sung are usually in the language of the singers. Songs describe a dance, a person, a place or an event. Songs come to people in different ways. ',,) There are many different honour songs. Each song is sung for a specific reason, whether it be to bring in the Grand Entry or to honour a flag, veteran or person . During an honour song everyone should remain standing to show . res• . . pect. Men and boys •►~-, should remove their .~~':!~hats unless they are "' ,',''.\· adorned with an Eagle feather. No recording of any kind is permitted. : , •• Special Powwow Issue June 1997 A song could either come through the whistling noise of the wind, through a dream or even from the makeup of words into syllables. At issue today is the original styles of the songs of from long ago. People question whether the songs were simple chants or actually had words and lyrics to them. Understanding of the origin of songs is important to protect and carry on the spirit and intent of powwows . Currently , singing is categorized at powwows as either origi- nal or contemporary styles. The distinction is made based on whether a song has words to go along with it. Original style songs have no words, they simply have melody. Contemporary style songs do have lyrics. However, Elders often say that there is no difference in powwow music. They say that the music is · the same now as it was in the past when some songs had words and some did not. The Elders maintain that the distinction in singing styles that is made at powwows is not based on tradition. Therefore, every song sung today is actuall y an original style song and should not be categorized . ~fa '~i ,5 Honour songs can be straight style singing or they can be word songs . For example, a song made to honour a certain dancer could describe the way in which he or she dances, the appearance of the outfit, where the dancer is from or some other characteristic of the person . Another type of honour song can originate from an intertribal song. This occurs when a dancer blows his Eagle Whistle on a drum. An Eagle Whistle carrier will call on a drum they are 9 �SIFCHOSTS 19TH ANNUALPO by Lori Bateman The Saskatchewan Indian · Federated College (SIFC) held their I 9th Annual Powwow on April 5 and 6 in Regina. More than 600 dancers and 20 drum groups attended the event. The SIFC Powwow was established in 1976. The first powwow was held on the University of Regina Campus. It began as a means to promote awareness of Aboriginal culture says Charles Pratt, Chair of the Powwow Committee. He says that the pow~ wow was held in early April to give students a brief break before they began final exams. From those humble beginnings, the SIFC Powwow has grown to become one of the largest indoor powwows in North America. Pratt says that only the Albuquerque, New Mexico and Denver, Colorado powwows are larger. The powwow Photoby Shannon Avison is now held at the Regina Agridome in Exhibition Park, the largest facility the city has to offer. Pratt says that although the powwow has grown, its purpose has remained constant. He says that the powwow offers the opportunity for cross-cultural awareness and, of course, social aspects. "People like to come out and visit their friends," he says. And, because it is held in early April, the SIFC Powwow is widely considered to open the powwow SJFC Dean of Students Della Anaquod with ExecutiveDirector Wes Stevensonand Dean of Academics GeorgesSioui ' (behind) trail. "We usually kick off the season," says Pratt. "I think [people] look forward to the SI FC Powwow because it is one of the first, it is the first of the powwow trail." This year's event saw an increase in participation and attendance. Pratt says that it is difficult to get a definite number on attendance because there is no formal admission. But, he says that by looking at the seating, "We estimate that we had 5,000 spectators at any one time, possibly more ." He says that the Powwow Committee was also pleased at the number of youth that attended . Perhaps the prize payouts have something to do with the popularity. Roy Nahnepowisk, who is in charge of the powwow's finances, outlined the prizes. The top five finalists in Men's Grass Dance, Men's Traditional Dance, Men's Fancy Dance and the Men's 50+ dancers received prizes ranging from $600 for first place to $200 for fifth place. These prizes were duplicated for the top five Photoby Shannon Avison IO SASKATCHEWAN ■ illA.111 (continuedon page I 3 ) Special Powwow Issue June 1997 �Singing Contest 9th Crooked Lake 8th Fly in Eagle Denver, Colorado 7th Assiniboine Jrs Edwin, Manitoba 6th Starblanket Jrs Regina, Sask. 5th Wild Horse 4th Eya Hay Nakoda Morley, Alberta 3rd Eyabay Minnesota 2nd Elks Whistle Regina, Sask. Ist Pipestone Creek Ladies' 50&Over 5th Gerorgina Thunderchild Turlteford, Sask. 4th Amy Stonechi'ld Siksika, Alberta 3rd Irene Yuzicapi Fort Qu'Appelle, Sask. 2nd Maggie BlackKettle Calgary, Alberta I st Della Love Joy Sisseton, South Dakota Men's 50 & over 5th George Ceepeekoos Kawacatoose First Nation 4th Larry Anaquod Cupar, Sask. 3rd Walter Bull Little Pine First Nation 2nd John Taylor Portage La Prairie I st Wayne Goodwill Fort Ou'Appelle, Sask. Ladies' TraditionaJ 5th Ruby McArthur Pheasant Rump Nakata First Nation 4th Celeste Tootoosis Cutknife, Sask. 3rd Stephanie Redman Standing Buffalo 2nd Diane Goodwill-McKay Sioux Valley , Manitoba l st Unda Standing White Bear First Nation Men's Traditional 5th Gabe Cleveland Minneapolis , Minnesota 4th Tom Charging Eagle Red Scaffold, South Dakota 3rd Francis Sherwood Wolf Point, Montana 2nd Tommy Christian Poplar, Montana 1st Tim EashappieHays, Montana Ladies' Jingle Dress 5th Jolene Redman Fort Ou'Appelle, Sask. 4th Carla Bison Ocean Man First Nation 3rd Gladys TWo Eagles Rosebud, South Dakota 2nd Yvette lronstar Ocean Man First Nation 1st Nellie Goodwill Fort Ou'AppelJe, Sask. Men's Grass Dance 5th Sidrick Baker New Town, North Dakota 4th Ron McNabGordon's First Nation 3rd Byron Goodwill Fort Qu'Appelle, Sask. 2nd Darrel Goodwill Windy Rock, Arizona Jst Jonathan Windy Boy Rocky Boy, Montana Ladies' Fancy Shawl 5th Shawna Kaiswatum Saskatoon , Sask. 4th Sarah Milward Calgary, Alberta 3rd Candace Gadwa Ocean Man First Nation 2nd Liza Cleveland Ocean Man First Nation 1st Dennetta Ewack Ocean Man First Nation Men's Fancy Dance 5th Terry St. John Minneapolis, Minnesota 4th Landing Eagle Goforth Peepeekisis First Nation 3rd Amos Yazzie Farmington, New Mexico 2nd Jerry Cleveland Jr. Regina, Sask. I st Poncho Brody New Town, North Dakota Boys' Traditional 6th Gabriel Dufour, Craven, Sask. 5th Joe Eagle Man Shofly, Winnipeg, Manitoba 4th Curtis Gardypie, Saskatoon, Sask. 3rd Robert Whitehead , Rose Valley , Sask. 2nd Ben Lightning , Hobbema , Alberta 1st Steve Charging Eagle, Dupree, South Dakota Boys' Grass Dance 6th Dustin Pashe, Dakota Tipi 5th Robert Standing, Whitebear 4th Wanbit Charging Eagle.Dupree South Dakota 3rd Trevor Whitebearhide, Whitebear First Nation 2nd Buck Spottedtail, Rosebud, South Dakota l st Colter Goodwill, Fort Ou'AppeUe Boys' fancy Dance 6th Preston Littletent , Regina, Sask. 5th Theodore Bison, Regina, Sask, 4th Buffalo Robe Goforth Regina 3rd Rylan Baker, New Town, North Dakota, 2nd Waylon Littletent, Regina 1st Peston Pashe, Paortage La Prairie Girls' Traditional 6th Stephanie Wuttnee, Red Pheasant 5th Justine McArthur 4th Tasheena Bison, Regina, Sask. 3rd Lauren Goodnature, Sissetion, South Dakota 2nd Sherisse McKay, Griswold Man. Jst Charmaine McKay, Whitebear, Sask. Girls' Jingle Dress 6th Judy Starr, Tuba City, Arizona 5th Tara Thompson, Regina, Sask. 4th Leah Omeasoo, Hobbema, Alberta 3rd Tanya Crawler, Morley, Alberta 2nd Rae Dawn Bison, Regina, Sask. 1st Kristy Vuzicappi, Standing Buffalo Girls' Fancy Shawl 6th Amber Cleveland Regina, Sask. 5th faime Gadwa Keechiwin, Alberta 4th Nita McAdam Big River, Sask.. 3rd Facia Prince Sioux Valley 2nd Robin Morin Regina, Saskatchewan l st Alexis Dustyhorn Kawacatoose First Nation �CELEBRATE LILYDANIELS by Sue Deranger The name Lily Daniels symbolizes kindness, caring, generosity and a helping hand. Lily is known for many of her great contributions to the First Nations community in Saskatchewan, especially to the Powwow circle. Lily was born on the Gordon's Reserve, although she is a member of the Kawacatoose Band. She spent many years in a Residential School and worked hard all over Southern Saskatchewan as a young woman . Lily moved to Regina in the early I 960s . Once there, she raised her 6 children: Gary, Kevin, Lyle, Leanne, Lisa and Allan, as well as contributing to the Regina community . She was actively involved with the Regina Native Women 's Association at the onset of this organization . She helped established their first Day Care Centre and went on to work at the Regina Native Women's Girl's Treatment Centre. Lily always had a commitment to young girls and women. She lost her mother at a very young age. Lily never wanted other young girls and women to feel as lonely as she did as she was growing up. She has definitely filled the lives of many people. Lily has helped them find themselves and to always know they had a "kookum , mother, sister, auntie," and a friend in her . For many years Lily had reoccurring dreams of a group of girls dancing Powwow and a shawl with a rainbow and a teepee painted on it. Although, Lily had organized a Powwow troupe for 12 SASKATCHEWAN i EH.A.II the Regina N a t i v e Women's Association, she finally acted on her dream and created the Rainbow Fancy Dancers in the early 1980s. The dancers in this group all wore shawls with a rainbow and a teepee painted on them . She worked night and day to make her dream and her Dance Troupe a reality. She spent her own time, money, and energy on these dancers. Lily sewed their dresses herself; drove the dancers to performances around the city, province, and outside of Saskatchewan. Sometimes Lily did this virtually on her own. Lily's name became synonymous with the Rainbow Fancy Dancers. Lily not only worked with her dancers, she also helped other people and organizations form dance groups. She helped young people become involved in dancing and sponsoring Powwows at Connaught School, Sacred Heart , Herchmer, the Core Ritchie Centre, the Circle Project, the Provincial Correctional Centre and the Albert Library - to name a few. Lily does not only teach dancing, she teaches people about their culture, their traditions and their va.lues. She makes sure her dancers know who they are and have pride in themselves. Lily makes sure her dancers "walk their walk ." Lily is not only active with her dancers. She is also active in the community . She gives talks at many agencies such as the Foster Parent Association; and she cooks for many feasts and gatherings. She counsels anyone that comes to her for help, and she is always there for those who need her. Most of all Lily is found giving hope, inspiration and faith to many of her people and especially the youth . Lily is vibrant, cheerful, and an essential part of the Saskatchewan First Nations community . Lily's smiling face, caring, kind and generous attitude makes her a welcome sight at al I Powwows and social gatherings. Saskatchewan residents are lucky to have someone like Lily in their midst. ~ Special Powwow Issue June 1997 �SIFC Powwowsetstrail in motion (continuedfrom page I 0) dancers in the Women's Fancy Shawl Dance, Women's Jingle Dress Dance, Women's Traditional Dance and Women's 50+. Nahnepowisk says that the top six competitors in the male and female teen competitions were paid $100 each. The Tiny Tots were paid $5 daily. The Singing competition paid the top nine groups. First place received $1,000 with ninth place receiving $200 . There were a number of specials including Royal Bank special. Three teams split the $500 prize. Overall, the powwow was well-received. Volunteers are credited with much of the success. Faculty, staff and students from SIFC provide the services for registration, security and organization of the trade displays. Whipman Ernie Keshwatum and Arena Director Bob Boyer deserve much of the credit as well. But, despite its success, Pratt says that there is still room for expansion with regard to attracting people to the event. He believes that expansion must proceed cautiously to avoid creating a situation where spectators are seated too far from the performers to experience the atmosphere. This is one of the issues before the Committee now. They are now beginning to meet ~ once again to review this year's event. Following the review, the Committee will begin work on the fundraising and marketing for the 1998 SI FC Powwow. Pratt says to expect the next annual powwow to be held on the first or second weekend of April, 1998. ~ L-R Lucy Snow (Security), FlorenceIsaac,and Charles Pratt from the SIFC PowwowCommittee (photoby Shannon Avison) Wanuskewin Tawow First People's Arts Festival Wanuskewin Heritage Park July 13 - 19th 5 km north of Saskatoon off Wanuskewin Road TAWOW is truly a celebration of First People 's visual , literary and performing arts. TAWOW will include traditional and contemporary dancing , drumming , storytelling , singing , arts and crafts as well as hands on activities . "Live the Experience " July 19th -Join us for Tom Jackson, star of North of 60 and the Huron Carol, Juno Nominee Chester Knight and the Wind and other Special guests for a live outdoor concert. Tickets are availa bl e at CBO or at Wanuskewin. Call 931 -6767 for more de tail s. Special Powwow Issue June 1997 SASKATCHEWAN i.iltiA.. 13 �BLACKSTONE SINGERSWINCONTEMPORARY WORLD CHAMPIONSHIPS by Lori Bateman Saskatchewan was well-represented at the 1996 Mashantucket Pequot Nation World Championship Powwow in Hartford, Connecticut. Among the many competitors were the Blackstone Singers, from the Sweetgrass First Nation . This drum group captured the title of World Champions in the Overall Contemporary category. This accomplishment did not come overnight . Lead singer Terry Paskemin says that he started the Blackstone Singers in 1987. At the time, he had been considering the idea with Dion Paskemin for two years. Together, the two formed the Blackstone Singers and hit the powwow trail. Their first powwow was in Hobbema, Alberta in 1987. Terry says, "It was fun. We sang just to have a good time." He goes on to say that they also needed some practice . Eventually, they began to improve and started to win at powwows. The 1996 World Championship was the group's fourth appearance. Terry says that in 1993 they 14 SASKATCHEWAN llt9U.D.I placed fourth and in I 994 they placed sixth. However, this was before a division was made between contemporary and original styles. After the change in classification, the Blackstone Singers finished in second place in the contemporary overall category . And, in 1996 they won the title. Of the original group, only four members remain. The Blackstone Singers are : Terry Paskemin, Darrel Paskemin, Randall Paskemin, Dion Paskemin, Leo Paskemin, Marvin Thunderchild, Randy Armstrong, Keith Sharphead, Rocky Morin, Fred Ike, Jr., Sean Standingrock, Sonny Dixie, Isaac Lehi and Garnet Whitecalf. As for future plans, the Blackstone Singers are looking forward to this year's powwow trail, says Terry. "We are hosting a lot of powwows," he says. And he is happy to still be singing after ten years. Ultimately, Terry says, "We are in it to have fun . . .. We just take it as it comes." The group is making a recording that will be available in early July. ~ ·~ Special Powwow lssue June I 997 �HIGHNOONSINGERSWINWORLDCHAMPIONSHIP For the second year in a row, the High Noon Singers won the Overall Championship in the Northern/Original Style at the 1996 World Championship Powwow in Hartford, Connecticut. The High Noon Singers consist of Lead Singer Ted Noon, Second Lead Ron Noon, Williard Okanee, Luke Okanee , Gerald Okanee, Dale Roberts, Bear Roberts, Tim WhiteEyes, Louis Doctor, Terry Checkosis and Quinton Checkosis . Of these, Ron Noon has been with the group since its inception 20 years ago . He says that this current group has been together for five years . Noon says that his involvement with singing began at an early age. He learned from his father, the late Simon Noon and his grandfather, the late George Noon. "It's in Carlson wagonlit Traver ~. $¾£...-, Local Presence the blood," he says. The group travels extensively over the summer, following the powwow trail through Canada and the United States. Noon says that they have competed in and won most of the big powwows since 1991. This year the High Noon Singers will be the host drum at a number of powwows. "There's not that much competing this year," says Noon. After 20 years Noon says that he is still having as much fun as ever. He, along with the rest of the group, enjoys meeting new people at the powwows. He says that he will continue for as long as the experience remains fresh and they are still having a good time . "There's no sense in carrying on if it's not fun anymore ," says Noon. The music of the High Noon Singers is available on four recordings available through Sweet Grass Records in Saskatoon. And, of course, they can be heard live on the powwow trail. '4 Pleased to provide complete travel service toFSIN REGINA AND Global Power™ includes • Group, conference, incentive planning • Preferred car rental & hotel program • Confidential travel profiles • Assistance in obtaining International documents • Information on Visa and health requirements Call our highly trained dedicated consultants 230 - 22nd Street, East Saskatoon, Saskatchewan, Canada S7K 0E9 Telephone: (306) 652-0161 Fax: (306) 652-0168 Toll Free: 1-800-667-6766 • Modem rooms and suites (non-smoking available) • Free in-room coffee • Free local calls • No long distance service charges Indoor • Full service restaurants • Banquet and catering facilities • Gift Shop • Club Z Points • Guest Reward Program Pool And Waterslide LOW WEEKEND AND CORPORATE RATES REGINA 4177 Albert Street S. PH: 306-586-3443 FAX 306-586-9311 TOLL FREE 1-800-578-7878 SASKATOON 106 Circle Drive W. PH: 306-242-8881 FAX 306-665-7378 -- ~ �MEN'SNORTHERNTRADITIONAL DANCE The Men 's Northern Traditional· style of dance is one of pride and confidence amongst First Nations men . Traditional dancers demonstrate a style of dance that evolved from the old form of war dance . The dance depicts the telling of a war story or hunting expedition. Other dancers also imitate wildlife such as horses, birds or buffalo while performing . The outfits of Men 's Northern Traditional dancers consist of beaded vests, war shields and porcupine roaches. A single, circu lar bustle made of eagle feathers is worn on the back. Most dancers carr y some sort of staff or dancing stick . The colours and designs used in each individual's outfit can symbolize their clan or family or represent their Indian name. While the dancers are dancing, they appear to be strong, bold warriors. They tell a complete --~ 16 SASKATCHEWAN lt.'l~iA. story that can be seen in their dance steps as they bend low to the ground and peer cautiously about. The process is repeated as an on-going hunt. The completion of the successfu 1 hunt is demon strated as they move in for the kill. Traditional dancers never dance backwards as they perform, as this would be perceived as retreat. Also, they never turn in a full circle while dancing. The Men's NortContempoTraditional has the same origin and similar styles to that of the Nort- hern Traditional. The main difference is that dancers of the contemporary style have brighter, flashier outfits and move more wildly. .i ;~ ~ ·.~ '( j Special Powwow Issue June 1997 �Each outfit' is designed to move with and enhance the motions of the dancer. The dancer moves his hips, arms, head and shoulders in harmony with the movement of his legs and dance steps . Dancers tempt to imitate nature , resemthe gentle swaying of grass on indy day . Grass dancers must i lay balance, endurance, coordin 1 n and gracefulness. All are done both on the .. ... ,. .... ,. rass Dance into two categories: old style and free style. The old sty Grass Dance is further 1 to the American old d Canadian old style . , many grass dancers main that the dance is the same and varies only by individual interpretation . ~ Special Powwow Issue June 1997 SASKATCHEWAN H\1HH~II 17 �THEMASTEROF CEREMONIES The Master of Ceremonies or announcer is a vital part of every powwow. A good announcer can contribute to a successful, enjoyable and memorable powwow. An announcer who is a little on the boring side can make a powwow seem to drag on. Most Master of Ceremonies (MC) are good story tellers, have many jokes to share, know most of the dancers and singers and are knowledgeable in the history of powwow and the different styles of dances. One of the most important jobs of an MC is the introduction of the Grand Entry. The MC will intro- duce and usually give a brief explanation of each part of the Grand Entry. MCs work hand in hand with the Arena Director to produce an exciting powwow. Together, they set the tempo of the powwow. They can also make sure the powwow runs smoothly and on time. Mike Pinay MC of SIFC 1997 Powwow SASKATCHEWAN INDIAN FEDERATED COLLEGE SIFC is a First Nations-controlled university-college wich is academically federated with the University of Regina , so students enjoy the benefits of access to the courses , research resources and recreational facilities of the wider university. At the same time , our students are served by academic and personal counselors in SIFC's Student Services department , including Elders who provide a link to the traditional ways of First Nations peoples . Cultural workshops , writing clinics and tutoring services are also available SIFC offers undergraduate and / or graduate • programs in: D D D D D D Indian Studies • Social Work Indian Communication Arts (Pre-journalism) Business and Public Administration * Interdiscipl inary Studies Dental Therapy D D D D D D D Elementary Education English* Career and Community Counselling International Indigenous Management Indian Fine Arts Science Indian Languages , Literatures & Linguistics• For more information write or call Saskatchewan Indian Federated College College West 118, University of Regina Regina, Saskatchewan S4S 0A2 (306) 779-6111 Fax: (306) 779-6116 Email: savision@tansi.sifc .edu 18 SASKATCHEWAN lli!IBi.&111 Special Powwow Issue June 1997 �THENEWTRADITION OF POWWOWPRINCESSES by Pat Deiter l The crowning of a powwow princess is a celebration intended to honour a young girl's commitment to lead an Indian life . The princess's honour is shared by her relatives who have made the effort to teach their traditional ways to a new generation. The honouring of a young female represents the community's hope that her children will also follow an Indian way . The powwow princess is selected for a variety of cultural factors including her ability as a dancer, the quality of her outfit and her family's willingness to support her financially through ticket sales . The concept of a princess is not part of traditional culture for First Nations people of the Plains who did not have a royalty system of kings and princesses . Early European travellers and traders created the myth of . • 95-96 Kahkewistahaw Powwow Princess- Misty DawnMintuck "Indian royalty" based on their European style of government. The intent of today's First Nation communities is to encourage young girls in traditional ways so that as mothers they will continue to practice an First Nation way of life. Oral tradition relates that the powwow princess was introduced following the tradition of rodeo queens who promoted the western lifestyle by attending parades and other rodeo events. The powwow princess tradition was started in the United States and came to First Nations in Canada by the 1970s. Once, women were excluded from the roles of announcer, committee members and singers. By honouring the powwow princess, the role of the females were included and encouraged . Powwow princesses also serve as fundraisers and ambassadors for their communities . The vision of a young First Nation woman carrying the pride of her people in her heart is a powerful image of hope for First Nations people and the powwow celebration. '4 ColdBeer& WineStore Fully Air Conditioned 3330 FAIRLIGHT DRIVE SASKATOON, SASK. S7M 3Y4 Licensed Fatnily Restaurant Special Powwow Issue June 1997 384-2882 $~ FAX384-0773 •00 SINGLE OR DOUBLE Comfortable and affordable For families, travellers, corporate business, and groups. Enjoy our complimentary facilities such as cable TV, parking, indoor pool & whirtpool. Complimentary in-room coffee. Local calls. Close to malls, bingo hall & sporting facilities. Non-smoking rooms available. SASKATCHEWAN llll91Alil 19 �With the advent of European trade, the First Nations market opened with the advantage going to the Europeans. In Canada, French merchants supplied manufactured beads of such varied colours that they became the principle medium circulating to all the First Nations people along the St . Lawrence and Mississippi rivers . Later, the Hudson Bay Company added beads as part of their standard trading commodity . Over the course of 300 years, the Hudson Bay Company traded with trappers and middlemen, who in turn, supplied the northwest frontier with beads. Through the fur trade, glass beads had a significant effect on First Nation life . The availability of these small beads, along with the introduction of trade cloth and steel needles, led to the decline of age-old decorative techniques , including quillwork. Beadwork rose to become the predominant craft. While some beadworkers followed traditional motifs from quillwork patterns, many others recreated themselves by incorporating their own ideas into European designs. This blend of European designs and materials became particularly successful on the plains in about 1860. Many plains groups created beaded adornment for themselves and their horses. First Nations cultures developed in ways that reflected their natural environment . The designs created by First Nations people throughout North America are as varied as their geographical locations. People of the woodlands used floral patterns in beadwork where the curvilinear TheHistory ofBeads by Ray McCallum The glass seed beads, sometimes referred to as trade beads, played an important, if not somewhat of an ignominious role in the colonization of North America. Columbus' first trade -► with the people of the Americas was done with the use of red hats and string beads to gain the confidence and admiration of the indigenous people. In the years following Columbus , the conquistadors set the pattern for trade with the use of trade beads. Along with the pots, pans and muskets, the bead became an indispensable part of the goods to be traded for items of greater value. The history of beads dates as far back as 40,000 years with the advent of modern people . They have been made by every culture since then. Every society has had the basic technology to make beads consisting of items from plant seeds to various stones. Plant material required the least technology to pro duce beads and was a widely ava ilable medium . In contrast , the material from gems, semiprecious 20 SASKATCHEWAN H19 i A.llil stone and bone required a labour intensive production process . In North America, the use of beads and their manufacture was limited to a difficult production in gold, jade, bone, blue-green stone turquoise and hand polished shell beads . Thousands of years prior to European contact, geographical location determined the kinds of beads produced . Prehistoric Southwestern cu Itu res traded turquoise throughout the western regions and into Mexico. Marine shells from the Florida coasts were traded north and made into beads in Illinois . They were distributed to the agricultural societies of the Mississippi, Ohio and Illinois river valleys about A.D. 1100. All types of raw materials were used for ornamentation and to decorate clothing in North America . Objects were crafted to serve a host of functions, both secular and sacred. Prior to European contact, the use of porcupine quills by most woodland and plains cultures was common. Dyed in various colours, quills were used on baskets, footwear and clothing. Other means of decoration on clothing came in the way of painting and animal fur arranged to _create patterns. Special Powwow Issue June 1997 �t motifs quills. had traditional roots in Just as floral designs expressed the nature of woodland people, the geometric expressions defined the character of plains people. The beadwork of the plains was decidedly abstract and consisted of triangles, rectangles and diamonds that were often bilaterally symmetrical. There were at least a few basic patterns -the border and hourglass, border and box, feathered circle, checke r box steps and bilateral-symmetrical designs. Elaboration of designs came with the availability of trad e beads . Traditionally decorated portions on clothes became larger and short narrow strips became wide bands. The specifics of geometrics are many and the symbolic design depended largely on the maker, community and region. Although First Nations people were identified by geographical styles, they were not confined to one stylistic expression. Styles and designs often crossed inter-tribal lines. The woodland people who created floral beadwork also incorporated geometric designs . Likewise, while geometric designs were predominant on the plains, floral beadwork was also seen. The technique of beadwork is fairly basic and straightforward . It requires neither extensive training nor is it difficult to accomplish . However, it does require patience as beadwork can be very monotonous . Historically , beadwork in g was part of a social pastime where friends and family would bead together at the same table and discuss the issues of the day or just socialize. Today, cosmopo litan issues generally overta ke friends and families and the individual must find time for the craft. There are a few techniques in use in the creation of beadwo rk. Many more other techniques re being applied to beadwork that were not common historically . For (continuedon page 26) BEARDY'S & OKEMASIS - WILLOWCREEFIRSTNATIONANNUALPOW-WOW CELEBRATIONS: August15, 16, 17, 1997 (5 Miles west of Duck Lake,Sask.) In the heart of central SASKATCHEWAN!!! For more informationcontactDave or Garnet@ (306) 467-4441 Watch out for the POSTER!!! Special Powwow Issue June 1997 SASKATCHEWAN 9 ■ •11 21 �ONIONLAKEHOSTSINTERSCHOOL POWWOW by Lori Bateman The Onion Lake First Nation recently hosted a one-day, interschool traditional powwow. The event was held on May 29, 1997 at the Onion Lake Memorial Communiplex. Brent Dillon served as the Powwow Coordinator and works at Onion Lake in Cree Curriculum Development. Dillon expressed his pleasure with the turn-out for the event, saying that attendance figures were higher than expected . Schools from 12 communities participate d in the powwow: Wollaston Lake, Saddle Lake , Frog Lake, Joseph Bighead , Moosomin School , Chief Poundmaker, Lloydminster , Chief Mistawasis, Little Pine School, Kehewin and both Onion Lake schools , Eaglev iew and Chief Taylor. More than 140 dancers registered for the powwow, ranging in age from Nursery to Grade 12. And, seven student drum groups provided the music for the dancers : Chief Mistawasis, Kehewin, Frog Lake, Saddle Lake, Chief Taylor School, Frog Lake Crying Eagle and Wild Rose Frog Lake . Powwow Announcer Ray Whitstone kept the event moving smoothly and on time. He says that the trick to making an event such as this a success, is good organization beforehand . Judging from the compliments from spectators and the dancers , it seems that Dillon and his committee did just that. At the completion of the competition , most dancers agreed that the powwow was a success. Although the top three places in each category received extra recognition, each dancer went home with a 1997 Onion Lake Interschool Powwow t-shirt . Based on this year's success, Dillon says that Onion Lake is planning to turn the interschool powwow into an annual event. He says that they plan to use the same system as the established Dissco Track and Field event. But, this event will continue to focus on the traditional powwow and handgames . Dillon is confident that this new annual event will strengthen the cultural identity among First Nations students who attend . J4 Onion Lake lnterschool Powwow Results Kindergarten and Nursery Girls Ist Debra Pahtayken Onion Lake 2ndDakotaYoungchief Kehewin 3rd Lynette Paul FrogLake Kindergarten and Nursery Boys Ist Darnell Duquette Mistawasis DivisionI (grades 1-3) Girls I st Holly Ironchild Little Pine 2ndMaggieOkanee FrogLake 3rd AlannaMoyah Mistawasis DivisionI (arades 1-3) Boys 1st Brad Duquette Mistawasis 2ndZaneWade FrogLake 3rd BryanOpissinow Onion Lake DivisionII (grades 4..6) Girls 1st AngelineGadwa Kehewin 2ndfody Gadwa Kehewin 3rd Melissa Kakeesim Saddle Lake DivisionII (grades 4-6) Boys 1st Derek Stanley Kehewin 2nijDarrelMoyah Mistawasis ltd1tylerMoyah Mistawasis Dlv1$1o n Ill (arades 7-9) Girls 1st ElissaGadwa 2ndTamBadger Kehewin Kehewin Joseph FrogLake DivisionIV (grades 10-12)Girls 1st Ondy Gadwa Kehewin 2ndCandaceGadwa Kehewin 3rd Felicia Badger Kehewin Dlvl&JonIV (grades I 0- 12) Boys Jst Micheal Awasis Onion Lake 2ndWeylonDillon Onion Lake 3rd Irwin Tootoosls Onion Lake Special Powwow Issue June 1997 �TREATYDAYCELEBRATION ATWITCHEKAN LAKE On May 7, l 997, Witchekan Lake First Nation celebrated their annual Treaty Day in grand powwow style. The Band held a traditional powwow and give-away in the near-by community of Spiritwood , Saskatchewan . Witchekan Lake Chief Ken Thomas and Coun cil planned the celebration with certain objec ti ves in mind. Their goal s were to commemorate the signing of the Treaty by fostering a deeper .understanding of the ident ity of Treaty First Nation people and to promote healthy lifestyles. The se objectives were accompli shed by featuring powwow dancers who maintain healthy lifestyles and who have achieved their educational goals . The Chief and Council want people to associate Treaty Day celebrations with the deeper significance of honouring the agreements that were made between t he Crown and First Nation people in exchange for the use of land belonging to First Nations. They believe this can be accomplished by teaching the younger generation about the traditional significance of Treaty rights . The five dollars paid out on this day is a symbo l of the agreements signed. A number of accomplished powwow dancers were invited to the event , many of them good friends of the Chief . Jerry and Lisa Cleveland of Regina, both wellknown fancy dancers; Delbert and Doreen Wapass of Thunderchild First Nation , a grass dancer and traditional dancer respectively ; Lillian Gadwa of Kehewin , a jingle dress dancer ; and Rod Atchynem , a Chicken dancer from the Sweetgrass First Nation, all Spe cial Powwow Issue June 1997 attended the event. In addition to First Nation's flag. An art contest these dancers, the drum groups had been held at the community level to select a design. Walking Buffalo, Iron Swing and Artwork for the flag was selectMistawasis Singers were in attened based on the interpretation dance. The dancers and singers prothat best exemplified the values , goals and priorities of Witchekan vided the spectators with demonLake. Of approximately I 00 strations of each powwow dance entries , three prizes were awardstyle . The invited dancers were frequently joined by local ed. First place went to Witchekan Lake Minor Sports artist Alvi n dancers . Chief and Council were pleased Fineday . Second place was awardwith the turnout for the celebraed to Brian Scott . And , Chris Tipewan and Dwayne Witchekan tion. The Witchekan Lake Band tied for third place . The winn ing members were very enthusiastic artwork was used to develop th e about the event . As a result , there flag design . were many more people than were expected. (continued on page 32) The spectators saw the event as fulfilling a need to reclaim their rightful place in society as Treaty First Nation people and celebrate the beauty and richness of First Nation cu 1A E C C> Ac:, ture. Chief Thomas says the . -~ atmosphere that Nevv Release ~~~ · this type of celeFSIN 50th Anniversary bration creates re - emphasizes ... provides/ ·,' ·~ ecordings the harmony the of Abor fgmal Music Band wishes to for today's enjoyment, work toward in and tomorrow's preservation ... order to empower their members. For complete catalogue: In addition to P.0. Box 23022 the cultural activSaskatoon , Saskatchewan ities , the event S7J 5H3 provided an Phone: (306) 343- 7053 opportunity for (306) 343-5930 Fax: the public pre www.sweetgrassrecords.com Web: sentation of the info@sweetgrassrecords .com email: Witchekan Lake 't Croolu:d La".e A.Q•ney t Whitcfl.11hJn. :, #ft~• -~ · PowWo :,.,.-p:; r"P SASKATCHEWAN ■ 9iA lt 23 �Providing Service to You. Discount Long Distance Pre Paid Calling Cards 1-800 Service * Business * Residential Calling Cards Cash Back Resale Program l 0% cash back Sign up your local communities, Generaterevenue! Sign up now ! Sign up now ! File Hills Telecommunication Corporation #1000 - 1777 Victoria Ave., Regina, Sk. S4P 4K5 Ph: 1-800-697-7177 FAX: 306-586-2912 Internet Site: http://firstnations.ca/fhtc, E-mail: jhtc@firstnations.ca C 0 en :i..... & \ ent & Manage Jnent 1 C I 0 -+ 0 OJ C en en ::J (D :i..... & en en Nation - to - Nation First Nations Internet Association #ldd(>" - -(777 VictoriaAve.:11·egina, s1< : S4P4KS or sM-26'2·1,-Fax:~366=ss€-2912 Internet: http ://fir stnation s.ca, E-mail: fnia @firstnation s.ca �THEARENADIRECTOR An Arena Director is a vital part of a powwow. The position of arena director evolved from the Whip man. A Whip man was a respected member of the tribe and a dancer. He was responsible to keep the participants of the powwow dancing. As he was dancing, the Whip man would circle the edge of the dancing arena. If a dancer was sitting down, the Whip man would come and point at the dancer to get up and dance. The dancer would have to listen to the request of the Whip man. If the Whip man came by again and the dancer was still sitting down, he would have to give an offering for his disrespect by being humbled and performing a small giveaway. At contemporary powwows, an arena director has the same duties as a Whip man. An arena director can request that a dancer dances during an intertribal. But, a dancer is not required to listen as they are to a Whip man. An arena director must also direct the Grand Entry of the dancers. He instructs them as to the proper order in which to enter the dance arena. One of the most important duties of an arena director is keeping the dance area clean. There should be no garbage or impurities such as alcohol around a dance arena. Many dancers carry their medicine bundles or spiritual belongings while they dance . It is the responsibility of the arena director that the dance area be clean and as pure and natural as possible while these sacred objects are being used. It is also the role of the arena director to set the tempo of the Special Powwow Issue June 1997 powwow. If he notices the dancers appear sluggish and bored, he knows that he let the powwow slack off. The arena director will then liven up the crowd by requesting a particular drum to sing a good song. He might also request a snake dance, a round dance or have the singers dance. These or another special will liven up the crowd and the mood of the powwow. Experienced dancers make the best arena directors. A person who has been dancing for a number of years knows the expectations of other dancers and the singers as well. He can see when the powwow is dragging on and knows from experience what he can do to create a livelier atmosphere. ~ LIFEON THETRAIL "Hurry up! We've got to nzakeGrand Entry." These are the most frequently heard words of family members following the powwow circuit during the summer months. Suddenly it is already Thursday and everything you planned to do during the week now has to be done in a couple of hours : fix the blow outs; iron the scarves; and untangle the yam of the freshly washed grass dance outfit. Most families travel the powwow circuit from mid-June to midSeptember. These are the months that children do not have to worry about going to school. And, those people who have chosen the profession best-suited to powwow-that of a teacher--do not have to worry about going to work. This is a time for enjoyment, a time for visiting and a time to replenish one's spiritual well. For most powwow folks, a powwow weekend begins on Thursday. This day entails sleeping in for as long as possible, then getting up and trying to accomplish everything at a million-mile-an-hour pace. The dancing outfits must be packed , along with the camping gear. And, the weekend groceries must be bought on the way out of town. To perfectly complete the task, the toilet paper must be forgotten, again. But, finally, everything is loaded up and ready to leave. You are right on schedule and it's bright and early, only 6:00 p.m. "Everybody get in the van! Let 's go!" Dad gets the driver's seat, Mom the passenger seat. Grandma gets a chair in the back with Auntie. The two teenagers make room on the bed for the two kids, leaving enough room for the baby. Grandma's "babysis" gets the freedom of the van. If she wants to sit with you, you better make room or deal with Grandma . So, like most powwow families, there is an average of nine people per vehicle-that is unless you are in a drum group. Then, the number of (continuedon page 34) 25 �History of Beads (continued from page 21) First Nations people, the basic methods of stitchery · have supplied at least 500 years of various ways to reinterpret themselves through beadwork. Now, when people think of First Nations, the association with beadwork goes hand in hand. Right now she doesn't have a care in the world. yYe're working to 1 keep it that way. Although a11 First Nations have a concept of themselves as a people, tribal characteristics took on new meanings with the arrival of the trade bead. Glass beads replaced the quills and natural beads as the medium of choice owing to their availability, flexibil- ity and variety of colour. Stylistic influences were reinterpreted from Euro-American expressions and designs. The elements that make up a cultural society include continual growth and expansionborrowing a bit here and a bit there . To state that beads and Euro-American influences took away the national identity from First Nations is to deny their intelligent capacity to grow. The ignominious bead that first insinuated itself through Columbus has become a cultural icon that continues to display the flamboyance of First Nations cultures to this day. rnrnrr v1®oo[n / l Improvements to the Family Income Plan Saskatchewan Social Services has improved the monthly income supplement and other benefits for low-income · families with dependent children, to help meet the costs of the necessities of life. Benefits under the Family Income Plan are based on variables such as income and the number of dependent children. For example, if you have one child and your · income is less than $16,000, you may qualify for supplements. The income . limit increases by $3,600 for each additional child . For more information, please call 1-800-667-7552. ■ Saskatchewan Social Services /~~~&®m - uo TITID@ !?Dru TI' rnflJuTI®rn~ ®®~u!iJOOOO[ru I S skatche i an Indian is r¢ad by d~bsion makers ah. d consumers alike. It' is ! 1, tl}e perfect advertising niedium t9,deliver y our m~ sage tO\the first ' j . ' ',1 • napons f:O~uru ty. Fo~ rates, P\iblishing d~ es , me chanical \fFquirements , and circulation details , conta·ct: \ , \ 'J DaleJohnso~ ,, ~~) PrintW es t Publis ~ Services 1150 EighthA~ ~-!i~e 'ina 306-565-3808 Special Powwow Issue June 1997 �The Men's Fancy Dance ong1nated in the southern United States. The origination of this dance was for the purpose of entertainment . And, entertainment is still the main feature of the dance today. The bright colours of the outfits and the fast moves of the dancers provide an entertaining sight for onlookers. Men 's Fancy dancers wear two brightly coloured bustles on their backs. Some dancers choose to make their bustles out of man-made feathers while others choose eagle feathers . The dancers also wear a cape made of cloth, ribbon or are fully beaded. They also wear matching front and back aprons . In addition to their regalia, the dancers wear porcupine head roaches, fur leggings and bells. -c · .• i •• ··.•--· ...•.... ,):> · ···.. · .... ,: ··:~ii_ .•. . ..~ . •· •'"' ._ The Men's Fancy Dance is, in many respects, a test of a dancer 's endurance. A dancer , must be physically fit and well-coordinated because the dance requires a great deal of muscle control. It also permits the dancers to display highly complex dance steps and body movements . The dance steps are all done to incredibly fast beats of a drum. While the steps vary according to the individual dancer , dancers commonly bring their knees up high with their bodies moving in time with the drum . It is common for a dancer to drop to the ground and leap back up to his feet without missing a beat. f~ ·r;,··~ HOOPDANCE Originally the Hoop Dance was performed by medicine men and spiritual leaders as medicinal and /or visionary dances. Visions were seen through the hoops to cure ailments or see the future . ... The Hoop Dance allows the dancers to weave the story of how all living things on the earth are connected and how they grow and change . Hoop dancers use dozens of hoops to imitate the creatures found on Mother Earth. While every dancer lends his or her own interpretation, each follows the theme of harmon y with nature. These dancers may imitate the form and movement of an eagle , a snake , a butterfly , a flower , a turtle or Mother Earth herself . {~ Special Powwo w Issue June 1997 SASKATCHEWAN iil~ ~iAt.1 27 �WOMEN'STRADITIONAL DANCE The Women's Northern Traditional Dance is a very dig ... nified, graceful and modest dance that shows the strength, pride, respect and honour the women carry for their family, relati ves and friends. There are usually three basic styles of Women's Northern Traditional Dance. The first style is the station ... ary dance. This style originated with the Dakota/Nakata people in their small gatherings of long ago. The women would stand and bounce gently to the drum in honour of their family or rela ... t ives for whom the song was su ng. In these gatherings , the women would adorn them ... sel ves with their most elaborate quilled, beaded and decorated dresses and access or ies. The outfit was personal and was ere ... ated through dreams or tradi ... t ional family designs . These dresses symbolized the indus ... try, patience and steadfastness a woman must possess to com ... plete such an enormous pro ... ject. Secondly, in the Grass Dance Society, the women danced in what is known as the circle dance, round dance or side step dance. This dance is still performed as part of competi ... tions of today . In the third style, the women gracefully dance in a zigzag pat ... tern around the edge of the dance arena . Their dance is in time with the drum beat. Most women dancers today carry a fan usually made of eagle feathers. On the down beats or honour beats of the song, the women may raise their fan gracefully to show respect and honour as they dance . ~ WOMEN'SFANCY -. The Women's Fancy Shawl is one of the newest dances of powwow. This dance originated in the southern ...central United States . The dance symbolizes the life of a butterfly. A butterfly lives a quiet life before it encloses itself in a cocoon . Once the butterfly is ready to emerge, it breaks free from the cocoon and blooms into a beautiful, fragile creature. The butterfly lives freely. Flying deJi ... cately around its habitat, it dis ... plays beauty and grace. Women's Fancy Shawl dancers have beautifully intricate �WOMEN'SJINGLEDRESSDANCE The jingle dress dance originat-ed with the Anishnabe people of the Lake of the Woods area in Ontario and part of the American state Minnesota. Based on tradition and teach-ings, the jingle dress is believed to come from a man from the Lake f the Woods area whose daughter was ill. In this man's vision, the jin-gle dress was made of shell. The meaning of his vision was for the dress to be given to those who believed i.n a traditional way of life. The dress was to be given for the purpose of healing . The jing)e dress is a medicine dress. If a woman chooses to take on this dress, she must be ready for the responsibility that it entails. The jingle dress should be honoured with fasting and feasting. Today, the jingle dress is made up of cones. These cones are usu-ally made from soup Jids or copenhagen lids. However, there are still some people who use shells . There are two types of dances that accommodate this style: the straight dance and the side--step. The dancing style of the individual is one of low steps, not high steps. Dancers do not perform complete spins like the fancy shawl dancers. In today's powwow world, we are witnessing another classifica-tion of dance within the jingle dress dance. The jingle dress dance can now be classified in the traditional or contemporary style . SHAWL DANCE outfits . The dancer will wear a cape which is usually fully beaded . Also, they have matching leggings and moccasins, hairpieces and jewelry. Distinctive to the women 's Fancy Shawl dance is the way in which they use their shawl as adornment, delicately draping it over their bodies. It is in the movement of her body while she dances and the lightness of her dance steps that makes the butterfly come to life . A fancy shawl dancer dances to a fast drum beat as do the men 's fancy dancers. A dancer shows gracefulness , endurance and agility as she moves in perfect beat with the drum. While she dances , her shawl sways and swirls in perfect harmony with her body ; a butterfl y flitting ever so delicatel y about the dance arena. \~ SASKATCHEWAN �FSINROYALTY by Lori Bateman The Miss Federation of Saskatchewan Indian Nations 50th Anniversary Princess pageant was held in November of 1996. Stephanie Redman from the Standing Buffalo Dakota Nation and Carla Omani of the Wahpeton Dakota Nation now share the life time title. They both recently com- Duquette said, "We were very pleased with the number of contestants ." The contestants were judged during personal interv iews that demonstrated their knowledge of the FSIN, their personal histories and their future goals . The traditional aspect of the competition was the dance and regalia. Another , smaller , portion to Carla. "It's a big part of my life and it's always going to be there, " she says. She believes in the value of learning traditional ways from Elders and family . When Carla speaks to youth , she tells them to try to live their dreams to the fullest. She also encourages youth to stay in schoo l. Education is tremendously valuable to Carla. She is graduating Stephanie Redman and Carla Omani will both representthe FSIN in an officialcapacity throughout their lives CarlaOmani, FSIN Princess peted at the 1997 Miss Indian World pageant in Albuquerque, New Mexico. These two young women were selected from a field of eight contestants . Event coordinators Calinda Duquette and Daryle Gardipy said that the contestants were subject to strict criteria. The young women had to be between the ages of 17 and 24 ; single with no dependents ; lead alcohol and drug free lifestyles ; be powwow dancers ; and have knowledge of their tribal traditions . Considering the criteria , 30 SASKATCHEWAN SlepnanieRedman,FSI N Princess was dedicated to ticket sales. Carla Omani entered the pageant on the advice of family and friends. She is a Fancy Shawl dancer and started dancing at a young age. After a break, Carla began dancing again in 1992. In addition to her dancing, she is involved in a number of school activities, among them the Multicultural Action Committee . The group works to raise awareness of other cultures, particularly for the Aboriginal students. First Nations culture is important from Carlton Comprehensive High School this year . She is planning on applying to SUNTEP and completing a Bachelor of Education. She plans on becoming a teacher . Since being crowned in February, Carla has attended the Saskatchewan Indian Winter Games and a number of Round Dances. She is looking forward to further experiences that will result from her title. Stephanie Redman also entered the pageant after being coaxed by a (continued on page 32) Special Powwow Issue June 1997 �NowAboriginal Ownedand Operated SASKATCHEWAN ■ II MAGAZINE ■ ~II See Us For All Your Automotive Parts, Services and Accessories " Federation of Saskatchewan lndlan Nations Check Out Our Spring Specials On Brake Work, Tuneups and Air Conditioning 40% Off Shocks and Struts Off er Expires Aug 1/97 608 Circle Drive East Saskato on, SK S7K 0T9 Bus. 933-0 00 2 Fax 934 -0803 Toll Free: 1-800-56 7-5527 PRINTWEST PUBLISH IN G SERV I CES ■ Landmark Inn Owned and Operated by Ochapowace First Nation 186 Spacious guest roo m s with non smoking wings. Business , seniors , an d fam ily group rates . Swimming Water Slides Banquets and meeting facilities for up to 300 people . Restaurant , Checkers night club , and cold beer off sale. Business centre on site . l-800-667-981 4150 Albert Street Regina Pool Saskatchewan l �Treaty Day Celebration FSIN Royalty {continuedfrom page 30) friend . She says that the entire experience has proven to be hectic but interesting. Since receiving her crown in November, Stephanie has represented the FSIN in Toronto at the First Nations Bank of Canada launching. She also attended a youth conference in Halifax that was dedicated to mental health. Currently, she spends a lot of time giving presentations to students in Regina . She tells the students not to set one major goal but a series of smaller ones. Completing each goal provides motivation and self-confidence to continue working to meet the rest. Stephanie promotes the importance of learning and maintaining culture, no matter where the students are from. But, she also tells them to keep a balance between athletics, academics and culture. (continuedfrom page 23) She does this on a personal level to maintain her happiness. Stephanie has been a Ladies Traditional dancer since she was old enough to walk. "It's always been a part of my life," she says. However, she says that her parents always stressed that school had to come before attending powwows. As a result, academics are a priority with Stephanie . She completed her Bachelor of Science degree in biology and Indian Health Studies at the Saskatchewan Indian Federated College this year. She plans on pursuing a career in medicine. Stephanie Redman and Carla Omani will both represent the FSIN in an official capacity throughout their Jives. Look for the FSIN 50th Anniversary Princesses on the powwow trail this summer. ~ Overall, Chief, Council and spectators alike considered the day to be a very successful Treaty Day celebration. Based on its success, Chief Thomas says, "Next year, we would like to have a bigger celebration, and maybe host a powwow during a weekend." Chief Thomas adds, "I, personally, would like to thank all the dancers, spectators and visitors who took the time to come and provide us with their support. It is only through support like this that Indian people will once again reclaim their power and work and celebrate life in harmony." ~ Jackf is,i Lodqe $199.ooSummer package until Sept 3rd, '97. Package includes: It'sthenewest addition to McDonald 's®grownupmenu-Crispy Chicken Deluxe"'. Savour thecrispycoated allwhiteseasoned chicken breast - topped with freshlettuce leaves , a sliceofripetomato anda creamy sauce allserved upon a bakery styleroll. It's anothergreatgrownuptastejustforyou,onlya~McD onald's® At participatingMcDon ald's restaurants. ©1997 McDonald 's Restaurants of CanadaLimited . Fortheexclusiveuseof McDonald 's Restaurants of CanadaLimitedandit's franchisees. •- MCDOna1a·s SASKATOON • two nights of deluxe accommodation • 1 free bucket of balls per person. • Two 18 hole rounds of golf for each person. Scenic lake side setting in Battleford Provincial Park_;1/2 hour from North Battleford. Group touring rates are available. Meeting and banquet facilities for up to 150 people . Ph. 306-386-2800 fax 306-386-2840 �1997 m~TY< 18~874 llrEATYrlll m~TY< 18~8 74 GlirNll~NI Uu'Appe//e SEPT. 1S- 21Fort Saskatc6ewan Mon. Sept. 15 Camping Day Tues. Sept. 16 * Feast 2 p.m. Teepee Camp * Dry Dance 8 p.m. Rexentre Admission $7.00 Thurs. Sept. 18 * Treaty 4 Forum 10 a.m. * K-9 Student Activities Teepee Camp - 9 a.m. - 3 p.m. * Round Dance 7 p.m. Teepee Camp Wed. Sept. 17 * Treaty 4 Forum 10 a.m. * K-9 Student Activities Teepee Camp - 9 a.m. - 3 p.m. * Amateur Hour 7 p.m. Rexentre - Admission $5.00 Fri. Sept. 19 * Elders Forum Teepee Camp * Golf Tournament Echo Ridge * Much Music Youth Dance TBA * Entertainment night Dale Auger & The Legends Sat. Sept. 20 * Golf Tournament Echo Ridge * Fastball Tournament * Parade - 11 a.m. * Pow Wow Arbour Teepee Camp - Grand Entry 1 & 7 p.m. Sun. Sept. 21 * Fastball Tournament * Road Race * Pow Wow Arbour Teepee Camp - Grand Entry 1 p.m. For more information please contact the PLANNING COMMITTEE AT 306-332-1874 �Life Oil the Trail (co11ti,rued from page 25) people who can fit into a vehicle whether it be a car, van or truck is unlimited. It is late in the day and everyone is starving. Of course, there is no time to stop and eat so out comes the highway steak you have ready. There's nothing like a baloney and cheese sandwich, on the dry side, washed down with the pop that is sure to be on hand. This is the essential diet of powwow_ singers and bachelors traveling the circuit, especially for those who are slightly broke, which is most often the case. Finally, it is Grand Entry time . There was barely time to set up camp and the beds will be made sometime later in the evening. You take your designated position among the other dancers. You wonder if you have put everything on properly and hope you look proud and dignified, not silly and the object of a quiet joke. And, you have a trail of your personal tribe dancing in behind you, making silly faces and trying to dance in the opposite direction as they half listen to your commands . Isn't it strange how kids act as a magnet attracting dirt. The minute they are washed up, wham! dirt just magically appears . Then, it is Sunday night and they are about to announce the winners. You sit nervously, as do the other dancers, trying to look calm , as if it is no big deal if you do not place. Inside, you know you are counting on the prize money to pay some bills and get to the next powwow. You wonder, "Are we going to stop and eat before we leave, or do we pull out the highway steak again?" Your category is up, third place INTERNATIONAL ONION POW Saskatchewan, AMERICAN HOST DRUM Haystack Rocky Boy, Montana AMERICAN M.C. Da le Oldhorn Crow Agency, Montana ·.LAKE lwow CANADA JULY 18, 19 & 20, 1997 ELDERS' PIPE CEREMONY DAILY CAMPING DAY, THURSDAY, JULY 17, 1997 Adult Categories MEN TRADITIONAL 18-44 YEARS FANCY 18 YEARS & OVER TRADITIONAL 45 YEARS & OVER GRASS 18 YEARS & OVER CHICKEN DAN CE .----------. 34 SASKATCHEWAN Whit efis h Jrs . Whit efish Lak e, Sask . Teen Categories 13 - 17 years I ltl.&.111 Total Prize Money Over $40,000.00 Special Events LITTLEWOLFE FAMILY MENSFANCYSPECIAL Honorary drum - Blacklodge TEEN GIRLSTRADITIONAL MEN'STRADITIONAL GOLDEN AGEDWOMENS Special Events Saturday, July 20, 1997 PRINCESSPAGEANT JUNIORGIRLS TINYTOTGIRLS STORYTELLING CONTEST Plus Trophies For All Categories Gran d Entr y: Friday 7:00 p.m., Sat . & Sun . 1:00 p.m. & 7:00 p.m. Registration : Frida y, 10:00 a.m . Closes Saturday at 1:00 p.m. Points will be awarded for participation in Grand Entry. Judgin g will be done on points system includin g style. Ray Whit stone Onion Lake, Sask. LADIES JINGLE DRESS 18 YEARS & OVER TRADITIONAL 18-39 YEARS TEEN GIRLS TRADITIONAL FANCY JINGLE DRESS GIRLS Junior Categories 7 - 12 years a CANADIAN M.C . Honoring ourEldersTRADITIONAL 40 YEARs & oVER FANCY 18 YEARS & OVER TEEN BOYS TRAD ITION AL FANCY GRASS BOYS TRADITIONAL FANCY GRASS CANADIAN HOST DRUM has already been announced, it wasn't you . Second place goes to your friend from down south. "And the first place grand champion goes to . . ." Yes! You jump up, run to the announcer stand , shaking some hands along the way. Congratulations . Thanks. Where are you going next weekend? Not sure yet. You? There's a powwow down south, I'll probably head there . O.K. Maybe I'll see you there. Sure thing. You pack up and head home . It's almost dawn and you still have an hour and a half to drive before you are home. Everybody else is sleeping and you wonder why you just didn't leave in the morning. Finally you get home, get everybody inside and leave the unloading for the morning. And, suddenly it's already Thursday. TRADITIONAL FANCY JINGLE DRESS HANDGAMETOURNAMENT For information call George Cannepotatoe 306-344-4530 For Information Call Brent Dillon - Pres. (306) 344-2440 Anne Whitstone - Sec. (306 344-4663 ARENADIRE CTORS Terry Daniels Sturgeon Lake, Sk. Canada CONCESSIONSTANDSON GROUNDS CONTACTSANDRACARTER AT (403) 847-2760 FORMALPOSTERSWILLBE OUTATA LATERDATE POWWOWSponsored by: ONIONLAKEFIRSTNATION The OnionLake First Nation will not be responsible for injury, lost or stolen articles, or travel expenses. 24hr. security on grounds. Absolutely no liquor or drugs allowed. Special Powwow Issue June 1997 �Our Children Our children are the most precious gift the Creator has given us here on this Earth. It is our responsibility to cherish them. It is our role as adults to teach the younger generation the knowledge needed to be future leaders and caregivers. It is our responsibility to make sure they inherit the proper tools needed to carryout this task. The first education that a child receives is in the home wi the parents. This is where the fundamentals of respect and patience are firmly embedded. A second classroom opportunity to begin the teaching of early fundamental lifeskills is the powwowcircle. It is within this circle where lessons learned in the home can be reinforced. Children practise, first...hand, respect. In return, happi ... raise. nothing more nts and grand... eeing their young g in the arena. The try their best, checking their parents are watch... They search out their eyes, looking for for their accomplish... he Tiny Tot exhibition is a child's ti CAREER SASKATCHEWAN IA is inviti,rg stories, pliotograpf1s,artwork and letters from our readers. If you are interested please fonvard your submission to: SASKATCHEWAN I IA Federation of Saskatchewan Indian Nations Suite 200-103 A PacfdiamAve. Sasftatoo11,Sasftatchewan S7N 4K4 Telephone: (306) 665-12 I 5 Fax: (306) 244-4413 TRAINING , TODAY'STRAININGFORTOMORROW'STECHNOLOGY! Our completelyfl exible~yfilfl!llets you set your own hours and learn at your own pace! Choosefrom diplomacoursesincluding:MicrocomputerBusinessApplications, SoftwareSupport, BusinessOfficeSkills, WordProcessing, Executive Secretary, ComputerizedAccounting,Administrative Assistant, Data Entry...and more. 1950 BROAD ST., REGINA , SASK .. 757-8973 i! ~~~!~.~~u~!!~~in(: Financialassistancemay be available to those who qualify. N111 cd # I 111 \ i><u11m11t! 1111111111g /J,· l ~n1t.:p1cncu1 ,\l.1ga1inc /99 5 <\ /996' �SpecialThanks... 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Just give us 48 hours notice and we'll help save you possible: • injury from hitting a buried line; • costs for repairing a damaged line; and • costs for moving what you've built because it's placed over a natural gas line. Before.you start to dig , remember the buried natural gas line and the free gas location phone line. Call your local SaskEnergy Office. Saskl!!nergy Natural Gas.The SmartChoice. ® 36 SASKATCHEWAN Special Powwow Issue June 1997 �THE LARGEST TRUNKED2-WAYRADIO SYSTEM IN THE WORLD! 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Save money 1-800-667-5492 COMMUNICATIONS /,I SaskTel Mobility Centre �-,.....__ Saskatche 's First Nations Cas· os Just Raised the st~l-eS on · ~ ···Excitement! .~ -__ __1 -···· .•1 • Indian Nations, we're com- ··'. _mit,~ed to the success of / . ·"' First .Nations venture _s ... ' for the future of · ,-,.; <. ~ ~! Saskatche~an's First Nations peop:,l: ;..'°·__ _. ..;_;~"' •:-;---~ For more il)formation, contact us at: ' J ·¥.;: Saskatchewan Indiafr·•,.c...;.;A, ;- .. ::,,· Ga~i~g Authority 2~0 ·_· I03C Packham Ave ... • Saskatoon, SK S7N 4K4 · -JI GOLDEAGLE CASINO BEARCLAW CASINO North Battleford White Bear Reserve Casino Hours: Mon. • Sat.:I0:00am - 2:00am Sunday: 12:00pm- 12:00am Casino Hours: Mon. - Sat.:I0:00am- 2:00am Sunday: 12:00pm• 2:00:tm ·Phone: (306) 477-7!}7 Fax:.(306) 477-4582 ~ '',. · � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian Magazine Subject The topic of the resource First Nations--Saskatchewan--Periodicals Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1970/2011 Rights Information about rights held in and over the resource In Copyright Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1970/2011 Description An account of the resource The <em>Saskatchewan Indian</em> was the official publication of the Federation of Saskatchewan Indian Nations and served as an effective communication vehicle for the First Nations in the province of Saskatchewan between 1970-2011. It provided coverage of people, issues and events both entertaining and informative throughout First Nation communities. The magazine was distributed to all First Nation communities in Saskatchewan and to all First Nation groups, organizations and institutions throughout the duration of its publication. Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre<br />#305 - 2555 Grasswood Road East<br />Saskatoon, Saskatchewan S7T-0K1<br /><br />Phone: (306) 244-1146<br />Email: library.services@sicc.sk.ca<br />Website: <a href="https://www.sicc.sk.ca/" target="_blank" title="Saskatchewan Indigenous Cultural Centre" rel="noreferrer noopener">https://www.sicc.sk.ca/</a> Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian, vol. 27, no. 2 (June 1997 Special PowWow issue) Subject The topic of the resource Indigenous peoples--Saskatchewan--Periodicals Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1997-06 Format The file format, physical medium, or dimensions of the resource PDF Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1997-06 Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Rights Information about rights held in and over the resource In Copyright Language A language of the resource English Type The nature or genre of the resource Text Description An account of the resource Contents: Cover Artist Lorne Cappo By: Saskatchewan Indian June - Special Powwow Issue 1997 An Elder's View Of Powwow Senator Standingready recently discussed the protocol of long ago powwows with Saskatchewan Indian. He touched on singing, songs, dancing and, finally, money. By: Saskatchewan Indian June - Special Powwow Issue 1997 Celebrate Lily Daniels-Biography By: Sue Deranger June - Special Powwow Issue 1997 Blackstone Singers Win Contemporary World Championships By: Lori Bateman June - Special Powwow Issue 1997 Men's Northern Traditional Dance By: Saskatchewan Indian June - Special Powwow Issue 1997 The Grass Dance By: Saskatchewan Indian June - Special Powwow Issue 1997 The New Tradition Of Powwow Princesses By: Pat Deiter June - Special Powwow Issue 1997 The History Of Beads By: Ray McCallum June - Special Powwow Issue 1997 The Arena Director-The Duties Involved During A Powwow By: Saskatchewan Indian June - Special Powwow Issue 1997 Life On The Trail These are the most frequently heard words of family members following the powwow circuit during the summer months. Suddenly it is already Thursday and everything you planned to do during the week now has to be done in a couple of hours: fix the blow outs; iron the scarves; and untangle the yarn of the freshly washed grass dance outfit. By: Saskatchewan Indian June - Special Powwow Issue 1997 Men's Fancy Dance / Hoop Dance By: Saskatchewan Indian June - Special Powwow Issue 1997 Women's Traditional Dance By: Saskatchewan Indian June - Special Powwow Issue 1997 Women's Fancy Shawl Dance By: Saskatchewan Indian June - Special Powwow Issue 1997 Women’s Jingle Dress Dance By: Saskatchewan Indian June - Special Powwow Issue 1997 FSIN Royalty-Crowning Of A Princess By: Lori Bateman June - Special Powwow Issue 1997 Our Children-The Responsibility We Have Of Raising Them Our children are our future. They are what we teach them. It is our role as adults to teach the younger generation the knowledge needed to be future leaders and caregivers. It is our responsibility to make sure they inherit the proper tools needed to carry out this task. By: Saskatchewan Indian June - Special Powwow Issue 1997 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Deranger, Sue Bateman, Lori Deiter, Pat McCallum, Ray Elders Lorne Cappo Music Powwows Ray McCallum Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 160kbps Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) Part I: 00:40:54 Part II: 00:40:02 Time Summary A summary of an interview given for different time stamps throughout the interview Religion. Assiniboine language on tape, (00:00-00:40) Second part, (00:00-00:40). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Assiniboine Elder's Workshop part 3/4 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1973-10-11 Relation A related resource Assiniboine Elder's Workshop part 1/4. Assiniboine Elder's Workshop part 2/4. Assiniboine Elder's Workshop part 4/4. Format The file format, physical medium, or dimensions of the resource audio/mpeg Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00014 Elders Nakoda