1 50 11 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. 22, no. 4 (April 1993) Subject The topic of the resource First Nations--Saskatchewan--Periodicals Description An account of the resource Contents: University Of Saskatchewan Curtails Aboriginal Aspirations By: Jennifer McKillop and Leah Dorion April 1993 Historic Signing Ceremony By: Rodney Gopher April 1993 Ovide Mercredi Responds To The Royal Commission On Aboriginal Peoples By: FSIN April 1993 Aboriginal Languages Celebrated By: FSIN March 31st is a day when First Nations celebrate the survival and richness of the 53 Aboriginal languages spoken in Canada. Mercredi calls it "scandalous" that these languages lack both constitutional recognition and legal protection, pointing out that they are unique to this country. April 1993 Pow-Wow Season - What Is Old Becomes New Again By: Martha Ironstar April 1993 The Native Cowboy Art Of Brian Seesequasis By: FSIN April 1993 Self-Determination Conference Held In Saskatoon By: FSIN April 1993 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 1993-04 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations McKillop, Jennifer Dorion, Leah Gopher, Rodney Ironstar, Martha 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 1993-04 Art Language Powwows https://d1y502jg6fpugt.cloudfront.net/25945/archive/files/5af50fc91a44dc335456a9272cedad48.pdf?Expires=1779926400&Signature=ReiJJWnngrxOX7BoA3wNfgiVY2gcElVeGTRbQPqgxIvpnnigdl3jplurIy7mxceCS8M0H-Y%7E4Rwb8fZECjIOM0Ot8sEL4bAETFSCUApeIFT3FNNdJzYPw3M6SK0sf6zg7p9jtFjGP1ho7IpP2zjqWy%7EwTr6CUAeaMh4nraqq9l94iz2dpFxRo8o481aiskSgrKfZTlq8gno7LgVhZQX4rGuwYy0zPHjUzW86wEegFNx%7E0l8ZQGqZvnkCKCJ0-Xpbiv%7E%7Ew1MCpqzl-QRm-Xo7iQnH0jaB0wJDegoGlO6T4fks7huKdR3qeXfpC-LC3WnjEZWB9ymDJ%7EDY7QrgBqcB2A__&Key-Pair-Id=K6UGZS9ZTDSZM b7db1bcc39dce140034339347bc37893 PDF Text Text �OCTOBER29 TO 31, 1998 SASKATOON,SASKATCHEWAN The priman 1 goal of the Youth Legislative AssembllJ is to establish an effective forum to provide First Nation students between the ages of 15-24 with the opportunitlj to participate in , and gain an intimate understanding of , the political processes of the FS/N, while at the same time discussing issues of immediate importance to their lives. The FSIN is committed to providing the necessary means to develop and enhance the knowledge youth PO$Sessregarding the political decision making process of First Nation government in Saskatchewan and to encourage youth to discuss and propose · ·. · ; ::···· · · recommendations to issues that they feel strongly about. FOR MORE INFORMATION CONTACT: FSIN Youth Legislative Assembly Coordinator Candace Wasacase FSIN - Office of Treaty Governance Processes Suite 904-606 Spadina Crescent East Saskatoon, Saskatchewan S7K 0C4 Phone (306) 667-1876 Direct (306) 667-1879 Fax (306) 477-5115 �SASKATC -· The tradition of the Sasftakftewa,c Indian magazine was to provide coverage of people, issues and events both ent ertaining and informative throughout First Nation communities. In order to keep with the tradition of the magazine we invite submissions. There is such an overwhelming number of First Nations community events and happenings that we will be unable to cover as much as we would like to. Therefore, we are inviting stories, photographs, artwork and letters from our readers. SaskatchewanIndian will also provide an opportu nity for advertise rs to reach the First Nation consumer. The magazine will be distributed to all First Nation communities in Saskatchewan and to all First Nation groups, organizations and institutions. For more information contact: Sasfcatcftewan Indian Federationof Sasfcatdiewo Indian Nations Suite 200 - 103A PaciftamA,enue Sasfcatoon , Sasfcatcftewan S7N 4K4 Telephone:(306) 665- 1215 Fax: (306) 244-4413 The views and opinions expressed by contributors to Saskatch ewan Indianare their own and do not necessarily reflect those of Saskatchewan Indian or the Federation of Saskatchewan Indian Nations. IN H E WAN ~ - Iii Vol. 28 #3 Powwow Issue 1998 THIS ISSUE Child of Vision .............................................................................. 3 Cultural Content Editor: Solomon Ratt ..................................... 4 Consider Wfsahkeciihk ...................................................................6 The Baffling Nature of Wfsahkeciihk ............................................. 7 Wfhowina....................................... ..................................................8 The Blindfold Dance ................................................................... 9 Nanabush & the Ducks .............................................. ............... 11 Miss Indian World .................. .................................................... 13 Storytelling is an Art Form ................................................. ....... 14 Another Good Powwow ............................................................. 16 Red Bull Keeps Drumbeat Alive ......................................... .... 18 Wfhtikohkiinak......................................................... ......................I 9 ON THE COVER: The Educational Value of Trickster Tales ............................... 19 PAINTING "LET'S DANCE " Saskatchewan Powwow Dancers Showcased ......................... 20 ART IST: IE RRY WHITEH EAD Chichipischewkan (Rolling Head) ............... ................................. .22 Tradition Key to SIFC Powwow 's Success ............................... 26 Artist Jerry Whitehead .....................................................................28 ~TCHEWAN IN'OIAN CULlUHAL Cl:NTRE LIBRARY DEPARrME.NT J20-33rd STREET EAST SASKATOON, SASKATCHEWAN S7K OSZ SaskatchewanIndianis published by the Federation of Saskatchewan Indian Nations . Editor: Lori Bateman Desktop Publisher : Jocelyne Wasacase SaskatchewanIndianAdvertising Sales : Dale Johnson (306) 652-8557 Copyright 1998. All rights reserved . ISSN 0048-9204 Printed in Saskatchewan by PrintWest POWWOW ISSUE1998 "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN Di Iii 1 �' Sinfonia Travel offices are conveniently located to serve all of Saskatchewan. Call the Sinfonia office nearest you! Meadow Lake 236-5145 Prince Albert 763-8412 North Battleford 445-7293 Rosetown 882-2641 Saskatoon 652-1272 Regina 584-9220 • Meadow Lake • Prince Albert e North Battleford • Saskatoon • Rosetown Regina• Proudly serving Saskatchewan's travellers for 40 years! j_ ~t'fJ,mJi·11':r11lfo11 '6• ~ 3366FAIRLIGHT DRIVEa,.f If f/0 DAILY REGULAR PROGRAMS *lPM *7PM *10:30PM V1s10 T Effective communication, through state-of-the-art technology or the ancient art of story telling, is the foundation upon which strong, enduring and mutually beneficial partnerships are built. CoME&Go PROGRAMS 12:00-1:00 3:30-7:00 9:30-10:30 SUNDAY MADNESS DOORS Partnership communication is the business of Vision Qwest. Box 371, Duck Lake, Saska tchewan SOK l J0 Tel: 306 467 2073 e-mail : rjmb@sk.sympa tico.ca OPEN AT IO BINGO AT MIDNIGHT For all the daily specials call the HOT LINE at 382-5722 �CHllDOfVl)ION reprinted with permission from IN DEO THE :TORY OF AN INDIAN MUJC L �mes. - C':'.KATC AN llllaU. -cou.ECTIONS Of OUR CU. TURE.. �There are many traditional Indian stories w tten in English, some collected · arious folklore and anthropol gjcal :~)Urnals and some publis eel in ·,llections of Indian tales for "n;;;.,""''~••' .;-JalQublic. I have read · ny .o t · e $: ories with gre t amuseme a d yet often pu t the downwit a of my heaa: aving bee some of tfiese stories iq my m er tong e, I ow from ma11,ywin,. te r ev nings on the trapline t they can Be much more thap t ey appe ar to be in the written form. Much is said about language being the medium by which our cultures are passed on from generation to generation, .and many bewail the fact that most Indian people today do not speak their mother tongue and fear that our cultures will die with the death of our Indian languages . We tend to forget that one of the main tenets of our Indian cul- and our The , hawing road, a much quic e way of getting back the teachings of our cultures would be to start telling our stories in English until the day comes when we can tell them again in the original tongue . ~ Stories lose a lot in translation. Some of the tliings lost in the retelli ng o ou stories in English include the humour, the son , ,.,,..1-1 ~---editorial asides , the gestures and tones of the narrator and the opportunity for the storyteller to expound on some of the key instructional elements contained in the story for a particular audience. Also lost is the opportunity for the audience to ask questions about some of the puzzling aspects of the tale . Perhaps the worst injustice done to the old stories when written down is the simplistic and often awkward sentence structure in an effort to capture the nuance of Indian languages. If traditional stories are to be told in English then it is the storyteller's responsibility to revive all that was lost when the stories were transferred from the spoken word to the written word. We are lucky that many of these stories have been published because for some who do not speak their mother tongue these collections are the only source to the original teachings of our peoples. We can take these printed tales as a starting point in reviving, and thus reclaiming, our traditional oral tales as mediums of instruction for generations to come . POWWOW ISSUE1998 'COLLECTIONSOF OUR CULTURE" SASKATCHEWAN Lll~D.I 5 �Consider Wfsahkecahk. If he was like many people today, folding his arms in exasperation at all the obstacles with which he meets, he wouldn't have survived to partake in all his adventures and we wouldn't have the teachings inherent in the stories . In some of the earliest stories in the Cree Trickster cycle we see Wfsahkecahkfighting and overcoming fearsome foes sent by his father~in~ law to destroy him. In this series of adventures the stories teach how to make bows and arrows (Leonard Bloomfield, Sacred Storiesof the Sweet Grass Cree, 1993, Fifth House Publishing, 16~17, hereafter cited as Bloomfield). The first set of stories dealing with Wfsahkecahk's flight from the dreaded Rolling Head (Bloomfield, 14~ 16) teach about family and spousal responsibility as well as giving a migration narrative on how the Cree came to be where they were. The migration story told through the flight of Wfsahkecahk also contains the Cree philosophy of the circle of life- Wfsahkecahk's journey is circular including all four directions as well as the notions of up and down. At the beginning of his flight his father hides him and his brother under~ ground and tells him that should he ever become lonely to look up at the stars for that is where he will be watching over them. Wfsahkecahk'sfather also pre~ pares him for his flight by giving him four things that will help him survive- incidentally these four things coincide with the four elements essential for life: fire, water, plants (air) and rock (earth). All these aspects of the teachings of our forefathers are evident in the traditional stories which have been collected, translated and published by folklorists and anthropologists. We owe them a great debt which we've yet to acknowledge. While it is true that many of these collected stories leave a lot to be desired in their published form because of their simplicity and frequent bad grammar, they do nevertheless contain the basic teachings about our cultures . The trick is to be able to find these teachings . -:; Chichipischewkwan (Rolling Head) by Reverend E. Ahenakewbeginson page 22. Painting by Ton· Lynn Wanotch , Nutana Collegiate 6 SASKATCHEWAN iliilitl.&liil "COLLECTIONSOF OUR CULTURE " POWWOW ISSUE1998 �Wfsahkeciihk is often a baffling character; he is both reviled and respected in Cree society. He is always curious and full of mischief, tricking others in order to survive but is also tricked in turn so that his pranks often backfire on him . He is often tricked only when he feels cocky- teaching us the value of humility . Although he is a walking contradictionso hard to pin down just what he is supposed to representhe serves to teach us how to live in a world ever chang~ ing. One of his basic characteristics is that he is always hungry- not surprising since the search for food in the old nomadic societies was the predominant pre~ occupation of most pe ople. Most stories of Wfsahkeciihk open with him walking along searching for food. He has to rely on his cunning to procure his meals and the process through which he gets his food is often comical. But, behind the humour is a less on about some aspect of Cree culture . .., ";' DURA STRUCTURES LTD. GENERA L CONTRACTORS, DESIGNBUILDER S, ENGINEERS WORKING IN CONJUNCTION WITH FIRSTNATIONS TO CONSTRUCT: W hen you have a taste for something sweet, try a McFlurry ®. Enjoy spoonfuls of creamy soft serve swirled with your choice of Peppermint Aero tt, Smarties tt, Oreot and Coffee Crisp tt. Stop by today and try McDonald's coolest treat that will sweep you off your feet. SCHOOLS MEDICALCLINICS SKATINGRINKS CONTACT : JOHN KONOFF 555 McDonald Street Regina , Sask. S4N 4Xl Available at participating Saskatoon McDonald's® locations. © 1998 McDonald's Restaurants 01Cana da Limijed. For the exclusive useof McDonald's Restaurants of Canada Limited andits franchisees . t Registered Trade Marksof Nabisco Lid. © 1998All rights reserved . ttT. M. OWNER/PROP . DESMARQ UES : sac1£T£DES PRODU ITS NESTL£S.A. POWWOW ISSUE1998 Bus:1-306-721-6866 Fax: 1·306-721-4700 "COLLECTIONS OF OUR CULTURE" SAS KATCHEWAN I 19 7 �Wlhowina by Darren Okemaysim Dnrre11 Oke111aysi111 is from Beardy's & Okemnsis First Nations. He leachesCree for both 1111iversities i11Snskntcf1ewn11 . He is presently the Chairman of Sasfwtche1i-,m Cree La11guage RetentionInc. Reprinted with per111issio11 from Ahkaminehiyawetan acimowasinahikanis . Kayas mana ayamihewiyiniwak ekwa osoniyawikimawak ki--mosci--meskotastamawewak owihowiniwa nehiyawa, ki--a.s6--miyewak moniyawi--wihowina 6hi nehiyawa. Mitwand ewako ohci etikwe moya mistahi ka--nehiyawiyihkasocik ekwa anohc. Kisak poko ekonik 6ki ka--meskotasta-mawacik 6ki nehiyawa owihowiniwawa, mitwand 6ki e--ki--iteyihtahkik ta--meskoci--moniyawi--ayami-hayit, ta--mosci--yikatewepinamiyit nehiyawihtwawin. Mihcetwaw kayas mina mana 6ki atiht ki--mosci--otinamwak peyakwan owihowiniwaw anihi ayamihewiyiniwa. Ki--ayimaniyiw etikwe mana askaw ka--nisitawinawiht nehiyaw ahp6 moniyaw masinahikanekinihk, peyakwan ayisk wihawak. Atiht ayisk mina 6ki nehiyawak ki--wemistiko-wihawak mana, ayiwak etikwe ekota pah--pitosihtakwaniyiw owihowiniwawa. Piyisk mina ka--ati--kakeskimacik nehiyawa tanisi isi ka--isi--a.s6--miyitokwihowina, napew ka--miyat owihowin wiwa ekwa peyakwan mina piko ka--a.s6--miyatmina kahkiyaw ocawasimisa. Namwac kikway ekospihk s6skwac e--ohci--manacihtahk kispin atiht 6ki e--pimatisitotahkik iskwewiwin ohci. Atiht ki--miyopayiwak. Ki--kaskihtawak ka--isi--masinahamihk owihowiniwawa kwayask e--nahihtahkik tanisi e--itihtakopayiyiki, ekosi kanaweyihtam owihowin. Maka ohcitaw iskwewak otinamwak meskoc onapemiwawa owihowiniyiwa ka--ki--ati--kihci--wikimat. Atiht oki nehiyawak pimacihtemakaniyiwa onehiyawi--wihowiniwawa. Peyakwan ki--a.s6-mekinaniwan wihowina ka--ki--isi--kiskinwahama-cik, keyapic kisak piko ewako anima pimitisa-hamwak. ~ 8 SASKATCHEWAN "COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �Curious, the birds ask him what he is carrying. He tells them that he has been given a new song which can only be sung inside a lodge which has one small opening and that he is preparing for a sacred ceremony. The bundle, he tells them, is part of the ceremony, the contents of which must not be seen. The birds beg him to teach them the ceremony. He relents and proceeds to give instructions on how to build a lodge in which the ceremony is to be held and into which the birds can dance but only with their eyes closed. After the lodge is built Wfsahkecahk paints the birds in preparation for the dance . Once the singing and the dance starts Wfsahkecahk selects the fattest birds, wrings their necks and throws them into the sack. This goes on until the Water Hen decides to take a peek. Seeing what Wfsahkecahk is doing he immediately shouts an alarm. At this point all the remaining birds escape, leaving the poor Water Hen who barely escapes after Wfsahkecahk steps on its feet in :;z:rn::':,;;::r;! revenge for spoiling his plans. ;:::~~-,::,.;;e:::::~ End of story. Incidentally in the next instalment of the cycle Wfsahkecahk is tricked out of his feast by a cunning fox! Ha!! On the surface, the story seems a simple one The Blindfold Dance, known in some collections as about how the birds got their colours and why the The Shuteye Dancers, contains instructions about how to hold sacred ceremonies . In summary, as Wfsahkecahk Water Hen (in the SICCcollection) has webbed feet (or in other collections why ducks waddle when they walk). is walking along in his endless search for food he sees This is all that tellers, or readers, of the story see as the a flock of ducks and geese and comes up with a plan to "theme" of this particular story- simply a children's get them for his supper by taking advantage of their story to explain the characteristics of waterfowl. curiosity. He fills his sack with moss (or bulrushes, Beyond the surface, however, there are some crucial depending on the version) and walks back and forth lessons about ceremonies which adults must be aware along the shore singing until the birds notice him. School , Through the Aboriginal Employment Development Program and the Aboriginal Representative Workforce Strategy, the Government of Saskatchewan works in partnership with Aboriginal communities to assist in the employment of Aboriginal people in all occupations. For more information on this and other programs, please contact: Saskatchewan Intergovernmental and Aboriginal Affairs (306) 787-6250 ■ Saskatchewan Intergovernmental and Aboriginal Affairs POWWOW ISSUE1998 Hon. Bernhard H. Wiens Minister "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN D A 9 �of in order not to be misled. Essentially the story gives the story~ teller an opportunity to tell his audi~ ence how to build a sweat lodgebuilding the sweat lodge being a sacred thing and the instructions for which are guarded to be revealed for a specific audience. It is not surpris~ ing that all the collected versions of the story- even the Cree version in Leonard Bloomfield's SacredStoriesof the Sweetgrass Cree (34~40)- gloss over these instructions. In the SICC version of the story there is also the point made that if someone promises to give a dance ceremony, as Wfsafrkecafrk tells the birds he had done, then one must keep his word. Another aspect of the story important in the Cree world is the notion of being given a song or a ceremony and the responsibilities that go with that. The most important lesson, how~ ever, is the necessity of "keeping one's eyes open", to be on guard for any shenanigans, after all the world is full of trickery. The Cree version which follows has editorial asides to help in the telling of the story. Piyakwaw Isa Wisahk1'cahk k1'-papirnoht1'w wasakarn sakahikanihk. Kitahtawiw Isa kawaparnat sisipa ikwa niska I-akwamothit natakam. Hay, k1'siskawkasopathihow. "Tanisi orna ta-ki-isi-nipahakwaw oko SISipak," Iwhispering] Isa itithihtam. Makarnina Isa I-noht1'-mkisot! Isaidin an exasperated tone] Hay, ati-k1'moci-pasikow, I-ati-sipihtit. Kltahtawiw isa wapahtam mask1'kwa! Atimamosahkinarn I-asowatat ornaskimotihk. Sakaskinahtaw ornaskirnot. Ati-wasakamiw kisik I-nanikamot. "Hay ya hay ya hay, nipasakwapisimona nipimowatan," !singing] ka-isi-nikamot Isa awa napiw. Kinwisis wawasakamiw athisk oko sisipak I-otarnimicisocik. Plthisk piyak SISipa wapamikow. "Hay! CTst! Kikwathiw awa kistisinaw kapimowatit!" isi-kakwicirnitowak Isa oko SISIpak. Piyak Isa awa Sihkihp kaskirnaw ta nitawi-kakwicimat Wisahk1'cahkwa k1'kwathiw I-pimowatithit. "Hay, NistisI ," it1'wISa oho napiwa (witha Isa kahkithaw awiya awa Wisahk1'cahk i-k1'osimisit Ian aside said in reverent toneI) . Ahcipoko papirnohtiw awa napiw ahk1'tap Ika I-pihtawat oho osirnisa . Nawac ka-kisiwitipwatikot. "Hay! Nistisi! " ka-isi-tipwit Isa awa Sihkihp . Kipihdw Isa awa Wisahkkahk tapiskoc i-sascihtawat oho Sihkihpa! "Hay! Kikoskornin nisim1," itiw Isa oho Sihkihpa i-kisiwatisihkasot. IO SASKATCHEWAN ■-8■A.il "COLLECTIONSOF OUR CULTURE " POWWOW ISSUE1998 �"keepingone's eyes open," to be on guardfor any shenanigans,after all the world isfull of trickery. "Kikway oma ka-pimowatlyan, NistlsI," isi-kakwkimiw Isa ostisa awa Sihkihp . "Ninikamowina oho," itlw Isa awa anihi Sihkihpa. "Mahti maka nikamo!" itik Isa osimisa awa Wisahkkahk. "Nama! Oski-nikamowina oho I-kI-mithikawiyan . Namotha pakwanita pokttI nika-kI-nikamon." "Tanisi maka," kakwkihklmow awa Sihkihp . Ikwani ikota ohci ati-wihtamawiw kahkithaw sisipa tanisi oma ta-itotamithit klspin nohtt-pihtahkwawi anihi oski-nikamowina. Ati-sihkimawasow Wisahkicahk. "Haw! Otahk askiy oma nikI-asotamakan ta-nimihkiyan anohc ka-asklwik. lkwani anohcihkI nikI-mithikawin oho ninikamowina ka-pimowatayan ikwa nikI-sihkimikawin tanisi ta-isi-nimihkiyan ispI nikamoyani. Ohcitaw poko ta-osihtaniwik mikiwahp nahlthikohk I-ispihcak ikwa piyak poko ta-iskwahttmowik. Ikwa ispI sipwisimowinanowiki ohcitaw poko ta-pasakwapisimocik tahto aniki ka-wI-nimihitocik . Klspin namotha awiyak nohttpasakwapisimow simak ota ohci ta-sipwihtiw!" Ikosi isi-kakwIpahkacimiw oho sisipa. Hay kahkithaw oko s1sipak noht1-pasakwapisimowak. Kahkithaw ikota kisadwak I-ati-mosahkinahkwaw mihta ta-osihtacik animithow m1kiwahp ikwa m1na akwanahamwak iyakwithow asosiya I-apacihtacik . Ikwani ispI ka-klsihtacik mikiwahp ati-mamanihiw osimisa W1sahklcahk, I-wawis1hat, I-papitosisisopikahwat Iherethe narratorcango intodetailaboutthe coloursof the ~ many differentducks who came to dance]. Ha! Kwayask cihklthih- } tamwak oko sisipak I-mamithonasocik! ~ s Ikwa! Ati-sipwiham Wisahklcahk! ~ "Hay ya, hay ya, hay ya, pasakwapisimowina ninikamohtan," a:................ isi-nikamow awa nap1w pihtokamihk ohci mikowahpihk, dki iskwahtimihk paskac I-apit ta-nahi-wapamat anihi sisipa. Ikwa aniki s1sipak ati-pihtokI-pasakwapisimowak IHerethe narratorwould Nanabush& DucksbyUrdaPelfy imitatethe dancingducks,noddinghis head in time to his singing] . Hay One day Nanabush was out walking in the forest. As usual mithonawiw s1sipa Wisahkicahk ... ati-nanawasoniw tahto anihi he was hungry . He had been trying all day to kill an animal to nawac ka-tahcipothit, I-ati-kaklskikwtnat ikwa 1-ati-posowipinat feast upon. omaskimotihk. As he walked along he came to a lake and, to his delight, Kitahtawiw Isa awa Sihkihp ka-ati-klmotapamat ostisa. Wahwa! saw some ducks swimming. "I must trick those ducks someKoskwapisin oho ka-itaspinatikocik! Simak tJpwiw. how," he thought. He began to think of how he would do this. "Tapasik! Tapas1k! Kim1scihikonaw awa kistisinaw!" I-isi-tipwit He set up his tent and then made a large leather bag and went Ishouting] . into the forest . Coming to a swamp, he picked up some moss Wahwa! Kwayask papasi-tapasiwak oko sisipak! Mitoni ana and bundled it. Returning to the shoreline of the lake, he walked along with Sihkihp I-nakacipahiht, witha 1sa iskw1yanihk wathawitimiskwaht 1his head down, pretending he did not see the ducks. In a short ispahtat . Maka mwihci kikac I-paspit ka-tahkiskatikot omitime the ducks noticed him. "Let's ask him what he is carrying tokanithihk . . . Mitoni I-wathawHahkiskatikot Wisahkicahkwa. in that bundle," one of them said . "Nanabush, what are you Ikwana kiyapic maskipathow Sihkihk ispI ka-kakwI-pimohttt carrying?" they shouted to him . Nanabush continued to walk, asklhk. pretending he did not hear them . "Nanabush, what are you Ikwani pitama I-iskwacimikosit Wisahkicahk. carrying?" they shouted a little louder. This time Nanabush W(..1, ........ -..~ ....... ----..;......., ____ __... ____ ......_ _____ ___ ne Fromthe Ratt family stories. pretended to look around for voices . "What did you say?" he shouted back. "What are you carrying in that bundle?" the ducks asked again. "I am carrying my song bag," replied Nanabush . "Let us hear you sing then," asked one of the ducks . "Oh, I cannot do that," said Nana bush. (continuedon page 14) POWWOWISSUE1998 "COLLECTIONSOF OUR CULTURE " SASKATCHEWAN Ill 11 �RECORDS <http://www.sweetgrassrecords.com> CREE WHITETAIL LIVE AT SKYDOME NORTHERN WIND SOEIEZUN WORU>CHAMPIONSHIPS TA-OTHA SPIRIT WALKING BUFFALO A DREAM TAKES FLIGHT PAINTED HORSE LIVE AT NAPI Attend the Beardys& OkemasisWillow Cree First Nation Powwow at Duck Lake, SK for the $5,000 Sweet GrassRecords Drum Contest STONEY PARK SCHEMITZUN WORLD CHAMPIONSHIPS August 14-16, 1998 (306) 467-4441 call to order: (306) 343-7053 or fax (306) 343-5930 Mail to: P.O. Box 23022, Saskatoon, SK S7J 5H3 CDs@$19.99 and cassettes@ $12.99+5% shipping& applicabletaxes MOCCASIN FlAT UVEATNAPI MERVIN DREAVER GONE BUT NOT FORGOnEN Receivefreebonusselectionon first orderof 4 or moreitems. (June1st- July 31st) *SpecialAnniversaryFREEBonusis a randomselectionfrom the SweetGrass Recordscatalogueand mustbe requested . WISCONSIN DELLS IRON WOOD SOfEMIIZUN WORLD CHAMPIONSHIPS SCHEMITZUN WORLD CHAMPIONSHIPS LITTLE AXE LIVE AT NAPI COZAD LIVE AT RED EARTH �All photos supplied b_vAnita Large MISS INDIAN WORLD: A ONCE IN A LIFETIME EXPERIENCE BY ANITA LARGE If someone asked me if I would do it all over again ...I would say no. Why? I would not meet the same group of girls that I did dur~ ing my journey to Albuquerue. Some were shy, some quiet or funny but most importantly all were very friendly, and that is what made the 1998 Miss Indian World Contestants a great group of girls. One by one the contestants arrived at the Albuquerue Convention Centre to register. Everyone was excited, nervous and happy. After we registered and handed in our tickets, we had a chance to meet each other. There were 26 of us from many dif~ ferent nations . I was soon joined with a girl from Guatemala named Elsa. Elsa was the first of our southern neigh~ bours to compete for this title. She was sweet , friendly , talented POWWOW ISSUE1998 ~ and spoke four languages: Spanish, English, French and Mayan, her native tongue. The Miss Indian World competi~ tion challenges the contestants' skills in public speaking, dance and traditional knowledge. After registration, the Committee began the first competition. Public speaking was one of the seg~ ments that we could not prepare for. We each found a partner and had five minutes to get to know each other. We then had one minute to introduce our partner to the audience. I thought this would not be dif~ ficult because I am very used to speaking in public. However once it was my turn to introduce my partner I never thought I could feel so nervous . My knees and legs were shaking. I also felt my voice shaking . I soon found out that it is not about being scared to "COLLECTIONSOF OUR CULTURE" talk in public but the idea of com~ petition. All the girls did a good job. The award was given to Farren Penny from Lapawai, Idaho. Our second competition of the day was the personal interview. Each contestant only had 10 min~ utes to answer the questions the judges asked. We were timed to the minute. The judges were look~ ing for a balance between being rooted in traditional culture and being educated. The winner of this category was Nonabah Sam from Brimhall, New Mexico. We started Day TWo early in preparation for the traditional presentation we were to make later that evening in front of an auditorium full of people. I must say that this day was very long. I, like the others , was very ner ~ vous. My mom told me that I should not look at it as a (continuedon page 15) SASKATCHEWAN i lllBi.A ill 13 �Dw1ks ·continuedfr.omv..age111 •• ·- •- i~'• ...... . . -. . -:-·• - . . .. - . . . .. .. . .. .. - . -.. .. .- ....... . . . -- .. .. ... . . . ... . - • • ~~ Storytelling, we are often told, is an art regulated to "storytellers" of the community . In my experience, in an effort not to dance blind, I have never found that to be the case. Each family unit had someone who was the most skilful in the art and passed the stories to all the family members and each family member was able to tell the stories in preparation for the time when he or she began to raise a family . It is very hard for me to imagine a family unit wintering on their own, as they most often did due to the scarcity of game, to go through the winter without stories because the "storyteller" was miles away at another camp. Wintering on the trapline in northern Saskatchewan when I was a child, my late mother would tell us stories as we were laying down to go to sleep . None of this romantic notion of sitting around a campfire listening to the community "storyteller" have I ever experienced. It would have to be a pretty big teepeea multi-family condo-teepee perhapsto include all the people to come listen to the community "storyteller". It is true that in social gatherings like powwows the best storyteller of the community would be 14 SASKATCHEWAN ilt..1~iAt.1 - - • - i - - - - •. .• -- - - •• - - •!- - - - asked to tell stories and often did . Nevertheless, it was necessary for each person in the community to know the stories even if they were not "storytellers". It was necessary because telling stories was one of the key components of educating our young about the world and about our cultures- if the family members did not relate the stories to their children then many would grow up without an education for most of the year because tribal gatherings were rare and often held in summer months when traditional stories were not told. The term "storyteller", as I use it here in quotation marks, is merely one of the many "invented traditions" that have run amok since we began the blindfold dance ages ago- it is dangerous to accept that such a notion ever existed. I was shocked by a young mother this winter at a storytelling session when she told me she didn't tell her children traditional stories or even read traditional stories to them because she was not a "storyteller". She had bought into this notion of "storyteller" . Poor kids- they are missing so much! {~ ·COLLECTIONSOF OUR CULTURE· I' POWWOWISSUE1998 �Miss Indian World: A Once in a Lifetime Experience(continuedfrom page l 3) competition but rather as something I do back home. When it was my turn to go on stage, my mother and I said a little prayer. I really believe the prayer helped me out. I pretended that I was giving a performance at Wanuskewin . As I told a story about the Indian dress, my mother acted out the story. I received many great compliments. It definitely was a night to remember. I was certain I would receive the award for best traditional presentation. However Rose Johnson from Reno, Nevada won the award. Day three was the beginning of the Gathering of Nations Powwow. I was finally going to dance in the Gathering. We danced in with at least 1,500 dancers; the "Pit" was packed. It was a great feeling. Peepeekisis First After the second grand entry, the dance competition for Miss Indian World began. I had no idea how the judges were going to choose a winner because there were many different dancing styles. There was the northern and southern straight traditional, fancy dance (my style), jingle and many other types. It really was colourful. The winner of this category was Sunny Rose Yellow Mule from Bernalillo, New Mexico who also won Miss Congeniality. After the very last grand entry, the Miss Indian World Title was awarded. This title went to April Whittemore from Fayetteville, North Caroline. Sunny Rose Yellow Mule took First Runner-Up and Second Runner-Up went to Rose Johnson. Although I did not win any awards, I came home a winner. I had the opportunity to meet 25 wonderful girls and I made numerous friends. To be a participant of Miss Indian World was an exciting opportunity and a once in a lifetime experience. ~ Nation FolloivYourDream Arts Festival August 7 & 8, 1998 AT T REGINA INN . TheGovernment of Saskalchew~m strivesto increaseand retaintherepresentation of qualifiedpersonsfromthedesignated groups - women , personsof r\boriginaJ ancestry , personswilhdisabilities , andmembersof,~siblc minorit)group!> - in lhc PublicSenice. FormoreinformationaboutEmplo)ncnt Equity pleasecontact: Saskatchewan PuhlicSeniceCommission 210.-11thAvenueRegina , SK S P 3 Tel: (306) 8 -., · 2 t ~m," 11---- --'--'-------,ill~ I~ fax: (.)06) 8 - 060 Featuringwork of over 50 artists ""~ ..~ from across North America Orvisitour websiteat http-J/www .gm·.sk.ca/psc/ • Arts & Crafts Trade Fair • Dinner Theatre • Fashion Show • Musical Entertainment & more ... ■ For information (306) 585-8450 Government of Saskatchewan REGINA, SASKATCHEWAN CANADA POWWOW ISSUE1998 "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN 15 �BY . R.Mc,c l ••••••••• For the longest time I sat and watched lzim, a respected man wlzose accolades and puddle jumping abilities on the powwow circuit were known and somewhat discussed. A chaos of tiny frenetic people and foot-dragging adults were raising dust all about his tent. Witlz impeccable patience he continued his ritual of preening and apply ing the paint just so. I turned to look at my wife with some annoyance as she missed a strand on my hair. She, with customary patience, continued to humour my spoilt demand. 16 SASKATCHEWAN Ii>~- ·'COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �REGINA 610 Henderson Drive Phone: 721-8131 Fax: 721-2562 SASKATOON 701-45 Street West Phone: 244-7119 Fax: 244-0553 When POWWOWISSUE1998 it's PRE-FAB, "COLLECTIONSOF OUR CULTURE " think NU-FAB SASKATCHEWAN I 8 • 17 �~eeps L:>ru~bea,t Ali'Ve Throughout the span of time music, like traditional stories, has been passed from generation to generation. Singers are born not made, some believe. Young children, not yet able to walk or talk, demonstrate their enchantment with song and with the drum. They sit for hours on end before a cassette deck playing traditional music, teaching themselves those age-old rhythms. It is the power of the drum, the heartbeat of a people, that draws them as young children and sustains them throughout their lives . For more than ten years now, the Red Bull Singers have remained dedicated to ensuring that the drum, the voice of First Nation people, is heard throughout the world. The drum group has performed across Canada and the United States from Seattle to Los Angeles to Oklahoma. And, in 1995, they were part of the Goodwill Games, travelling to Poland, Finland, Sweden and Russia to spread their sound. Edmund Bull is the lead singer, manager and drum keeper for the group. From the Little Pine First Nation, he learned to sing and to drum from his father and uncles, following the tradition in his family. Bull put together a group of family and friends from Little 18 SASKATCHEWAN Ill_.. Pine, Onion Lake, Poundmaker and Red Pheasant First Nations in 1987 to debut at the Saskatchewan Indian Federated College's Annual Powwow. The Red Bull Singers were soon in high demand throughout North America. Officially, their music is classified as northern original style that showcases high-pitched vocals. However, they typically perform a mix of traditional, original contemporary powwow and round dance music. Their songs are traditional, passed from generation to generation, and contemporary, mainly composed by Bull. The Red Bull Singers strive to produce quality music that is innovative. Their efforts and the pride in their culture that they display have won them a wide audience that includes Buffy Sainte-Marie. This famous songstress recorded Edmund Bull's song "Darlin' Don't Cry" on her compact disc Up Where We Belong and the group was featured in the video. As their audience has grown, so has the demand for their participation at powwows and round dances. Red Bull has been the host drum for powwows all over the continent and performs regu"COLLECTIONSOF OUR CULTURE" larly at round dances throughout the winter months. They were recently the only drum group to perform at the first-ever Native American Music Awards at the Fox Theatre in Mashantucket, Connecticut. And, they are one of only two Canadian groups to act as host drum for the Red Nations International Powwow '98 at the end of August in Red Wing, Minnesota. For the second time now, the Red Bull Singers were named best in the world at the prestigious 1997 Schemitzun World Championships in Hartford, Connecticut. They had previously won this title in 1995, the same year that they were nominated for a Juno award. Edmund Bull has called this title an honour and credits the Creator for the success the group has experienced. The Red Bull Singers will be appearing at powwows throughout Saskatchewan this summer and will be competing for top honours at the 1998 Schemitzun World Championships later this year. Red Bull recordings are availab le through Sweet Grass Records at (306) 343-7053. t~ t POWWOWISSUE1998 �THE EDUCATIONAL VALUE OF TRICKSTER TALES \Vi hti koh kanak Cree society had safe-guards against anything that would be harmful to the community . These safe-guards came through in the stories and at powwows through the figure of the Wihtikohkiin. If only the Wihtikofzkiinn{?-the closest to a physical embodiment of the Trickster in Cree society at powwows and recognizable as clowns who merely scare children at today's powwowswould do their jobs without fear of reprisal, then maybe we wouldn't have to put up with so much invented tradition . The Wihtikohkfinnkwere, at one time , functional as critics of unacceptable behavior in societyno one was immune to their comical, yet often scathing, criticism. In today's powwows most of these figures simply dress weird to scare children. One was actually very good because he seemed to understand his function. He had on a jingle dress with the jingles, which are normally made from bells, made of bingo daubers! If we are to revive our cultures then we must encourage these performers to do their jobs well, without fear of reprisal. Furthermore, if we are to revive our cultures through the storytelling traditions then, with most of us not understanding our mother tongues, we must do so in English. We must each take the responsibility ourselves for our children's sake and not dance the blindfold dance to the tune of the selfproclaimed "storyte Iler". We must, or our cultures will surely die . ., POWWOWISSUE1998 Stories of Wfsahkecdhk have played a dominant role in the Cree education process. The oral tales have enabled the Cree, as well as other Nations, to examine the relevance of their cultures to their times . As an educational agent Wfsahkecdhk, an the Tricksters of other Nations ~ served to question the validi cultural and societal codes in a world always in flux. If the codes were pertinent to the survival and progress of a people then they were affirmed through Trickster stories. However, if they were stagnant and thus had a potential for reater harm than good then Tric th promp ada t the1r therefore rep and reinterprete , an ~ anew, to accommodat i world. J A Wfsahkecdhkstory which shows j an example of a new Trickster tale l added to the canon to accommoi date a changing Cree society is t included in Bloomfield's text (29-32}. l I have transliterated the Cree ver1sion into the Standard Roman f Orthography and edited a few awk1ward sentence patterns and J "COLLECTIONS OF OUR CULTURE " spellings of words in the text but have left the gist of the story as it was presented. This story was told by ComingDay, K,Uifsikaw-pihtokew, to Leonard Bloomfield in the summer of 1925. The story, about the influx of traders and missionaries onto the Cree world, goes like this: emisti wa: asinahikan. ama an nita)( Maka kiyimi cet nika-ayan -tipahikeya .' Ekosi omisi itwew; .:111,1 1~u.A16siwa· "w awa: "Nama kikff - -tipahikakan. Kispin iyani, kiyipa nika-ayan ." "Aha,"-Wemistikosiwak- "kikway kinitaw1yihten W1sahkecahk." Wapawiyana n1so, m1na mitas n1so, miskotakay m1na n1so paskisikan ." Ekota mistahi ayawinis otinam . Ekosi ekwa kiwew Wtsahkecahk. Ow1kimakana miyew kahkiyaw. (continued on page23) SASKATCHEWAN i I.A. 19 �C olour, flash, energy and unequalled talent: these are the defining qualities of the performances of the Wanuskewin Dance Troupe. The troupe features 32 of the top powwow dancers Saskatchewan has to offer. It was designed to showcase the exceptional abilities that First Nation powwow dancers have developed through hard work and dedication. The dancers first came together in June 1997 for a one-time performance at the Wanuskewin Heritage Park in Saskatoon. Donnie Spiedel, the group's coordinator, says that the organizers wanted a show that people would remember. To achieve this, they invited recognized world champion powwow dancers from across Saskatchewan to perform at the event. The Red Bull Singers, a drum group from the Little Pine Cree Nation, were also invited to perform . The exhibition proved to be extremely popular with all those in attendance. "The support was overwhelming," says Spiedel. Elders and community leaders who attended the event encour20 SASKATCHEWAN llilil81.Alilil .\ aged the formation of a permanent performance group. Since then, the Wanuskewin Dance Troupe have been formally established. Wanuskewin supports the dancers with the goal of honouring them and showcasing their talents. "The individuals that dance in these shows have been recognized all over as champions," says Spiedel. Saskatchewan First Nations consistently produce powwow dancers who win championships at powwows across North America. The challenge, as some see it, is that in the United States these talented Saskatchewan powwow dancers receive recognition; young people look to them as role models and heroes. But, Spiedel says, "Here at home we have nothing [like that]." The time has come, he believes, to promote Saskatchewan First Nation dancers at home. "We now want in-province recognition for them ." And one of the ways to do this is through performances of the Wanuskewin Dance Troupe. Spiedel describes the show as taking the contemporary and traditional and putting them on stage to produce something unique. "We've incorporated a lot of elements," he says. The show is choreographed and uses modem lighting and music techniques to create interest. The group also incorporates live narration of the \ Wanuskewin Dance Troupe Pho tos by Kevin Voinorosky of Aneline Photographies Saskatchewan Po\V\Vow Dancers Showcased "COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �Prairie Treat~ Gathering Unfinished Treary Business Saskatoon Inn Saskatoon, Saskatchewan August 5 & 6, 1998 No Registration Fee Pre-Registration is advised A FORUMFOR DISCUSSIONON ISSUESRELEVANTTO TREATYFIRST NATION LEADERSAND DECISION MAKERS Resource Revenue Sharing• 1930 Natural Resource Transfer Agreement • Impact of Delgamuukw Supreme Court Decision • Other Topics Banquet Wednesday, August 5, 1998 Corporate Table: $500 Proceeds to FSIN Treaty Rights Protection Fund For more information: Office of the Chief, Federation of Saskatchewan Indian Nations 200-103 A Packham Ave.• Saskatoon, Saskatchewan S7N 4K4 • Tel: (306) 956-6916 • Fax: (306) 955-0950 Affirming Our TreatyRights & Maintaining Our NaturalResources history and story of each dance style during the performances. Spiedel maintains that the level of excellence the dancers have attained is visibly apparent in each of their exhibitions. The Wanuskewin Dance Troupe has shared their gift of song and dance throughout the province. They were part of the grand opening of the permanent site of the Northern Lights Casino in Prince Albert and were also featured during the RCMPTattoo in Saskatoon, celebrating the I 25th Anniversary of the establishment of the RCMP. They have also appeared at a number of community events says Spiedel, including an afternoon appearance at Nutan a Collegiate in Saskatoon . In an attempt to give back to the community, the dancers arranged to perform a second time that day. Approximately 350 people turned POWWOWISSUE1998 "COLLECTIONSOF OUR CULTURE" out to watch the evening show and were treated to a guest performance by Keith Secola. These performances, says Spiedel , demonstrate the commitment of the 32 world champion powwow dancers in the Wanuskewin Dance Troupe to bring awareness of First Nation song and dance to Aboriginal and non-Aboriginal comm unities . These dancers are attempting to revitalize and honour the beauty and values of First Nation culture. ~ ~ SASKATCHEWAN ifmEli..U,I 21 �It happened in the darkness of the primeval world that there existed a being , it is said, who may have been a man. With him was one who was his wife. They had two sons , one being half--grown and the other a small, toddling boy . They lived in a wigwam, not of hides, but made of many willow wands plas-tered over with mud to make it warm. Once in a while in later times such lodges were built for winter use ; but the impos-sibility of their being removed from place to place brought them to such discredit among this nomadic people that they were in time entirely replaced by those of skins . This family lived happily for a time. Every morning the father went out into the woods and seldom came ome without bringing with him the choicest pieces of venison. He was happy in his work and in the companionship of his wife and chil-dren. A time came, however, when he noticed that she had changed somehow. Instead of the happy, contented look he used to see on her face, there was now an air of restless preoccupation. A strange light was in her eyes. Every now and again she would get up and go for wood in a nearby bush. This she did repeatedly , even when it seemed altogether unnec-essary . The man said nothing, but made up his mind to do some investigation in order to he lp her, if it were poss ible . One day , some time after this, being in the bush , he saw her coming. Something in her eager gait so roused his curiosity that he hid himself behind some willows. She approached a dead tree, at the foot of which there was a large hole . She tapped! A great number of snakes came crawling out. She sat on a log that had blown down ; and they crawled alJ around her, while she fondled them . He was horrified! In him was born all that human abhorrence of the snake. Not 22 SASKATCHEWAN Iii.A stopping to make his presence known, he went back to the tent and called his two sons . "I am going out to hunt," said he . "Tell your mother so when she returns ." He walked a long time and passed many wild animals before he killed a moose. Without even stopping to take out the insides, he went home. Arriving there , he sighed as if in great weariness and told his wife that he had killed a moose . He explained to her where the carcass lay and asked her to go for some of the meat , as he him-self was not feeling well. She showed marked reluctance at having to go; but she could not very well disobey him . "Let me run for some wood first," she cried . "No," replied the man in a firm voice, "Go at once!" Mumbling to herself, she started off. The man, look-ing at the fire, saw a piece of sinew contracting with the heat. He knew that she had dropped it there while he was not looking and that it was an act of magic per-formed by her, in order to make shorter the distance she had to go. He scooped it out of the fire with a piece of stick and, wetting it, stretGhed it to its utmost length , thereby counteracting the effect of her act. Having done this, he armed himself with a hunting knife and walked to where he had seen the snakes . He tapped and as before the snakes began to crawl out one after the other. As fast as they came out, he cut off their heads. He spared only one - and that a very little one . "When the Earth is peopled by men," said he, "you will not have the power to interfere with those who are to be lords of it. You will be small and eas ily conquered. " Having made this pronouncement on the reptiles of the West, he hurried back to the tent and began to make preparations for his wife's return . He took four things and, calling his older son to him, he Said, "You are to take your little brother on your back and flee for your lives. Here are things which will be use-ful when danger approaches: this Awl means a hedge of thorns ; this Flint gives fire; this Piece of Rock can form a mountain; and this Beaver Tooth, a great river of water . Farewell, my own sons! Farewell! May your lot be such that good may come to the Earth through this evil that is fallen upon us. n days to come should you want to see me, look up to the northern skies ; for J shall be up there . People will call me Oochaykatak(The Great Dipper) ." The boy took up his brother and fled to the West. "COLLECTIONSOF OUR CULTURE " (continuedon page 24) POWWOWISSUE1998 �The Educational Valueof TricksterTales(continuedfrompage 19) Omisi itik owi'kimakana: "Macikiseyiniw! Tanita taki-ohtinaman ta-tipahikakeyan!" Ekosi itwew: "Notokesiw, peyakwaw nina-nitawapamaw wemistikosiw." Ekosi ekwa sipwehtew. E-pihtokwet, wemistikosiw awa omisi itwew: ah, Wisahkecahk, kipe-tipahikan?" "Namoya," itwew Wisahkecahk, "Miyin pihcipowin." "Tanisi kititoten." "Eh, mahihkanak nikanipahawak." Ekwa miyik maskihkiya, pih-cipowin. Ekwa kiwew Wisahkecahk. E-pihtoket wikiwahk, "Notokesiw, miyin pimiy." Miyik pimiy. Ekwa ekota pihcipowin astaw pimihk; ekwa apisasin oyakanis, sikinam ekota pimiy . Mihcet ekota osihtaw apisasiki pimisa, ahkwatinwa. Ekwa kahkiyaw otinam; ekwa sipwehtew e-natonawat mahihkana. Ketahtawew wapamew peyak mahihkana. "Ah, nisim, astam!" itew ohi mahihkana. "A,namoya!" itwew mahihkan, "A,kiwi-nipahin osam!" "Namoya, nisim. E--wi-masinahikehitan." "Tanisi e-wi-isi-masinahikehiyan." "E-wi-atoskehitan ka--papa-nitomacik mahihkanak mina mahkesisak, kahkiyaw ka-miyosicik mahkesisak. Ota nika-apin ispat-inahk, e-wi-kakeskimitakok, e--miywasik acimowin ka--wihtamatakok. Ekwa tapwe awa mahihkan sipwehtew, e--nitomat mahihkana mina mahkesisa. Tapwe pe-ito-htewak mihcet mahihkanak. Mitani misiwe wasakam apiyiwa, e-winitohtakot, tapiskoc ayamihewiyiniw Wisahkecahk. Omisi itwew: "Nisimitik, ayamihawin ka-nitohtamek ta-otinamek; ekosi ekwa namoya awiyak kanipahikowawak, ayamihayeko. Maka eka tapwehtameko, ka-nipahikowawak. Eh, 6hi wapahtamok, eh 6hi !" Mahihkanak, mahkes1sak ewapahtahkik 6hi pimiya, "Haw, 6ma, awiyak 6ma mkici ka-wi-saskamohak, kinwesk kapimatisiw," ekosi itwew Wisahkecahk. Ekwa kahkiyaw, "Niya, niya!" itwewak mahihkanak, e-miyweyihtahkik kinwesk ka-pimatisicik. "Ekwa 6ma," ekwa miyew pimiy. Mkiwawa mahihkan, ekosi ekwa sipwehtew. Pah-peyak esaskamohat wasakam, mina mahkesisa, kahkiyaw mestinam 6ma pimiy. "Ekosi kinwesk ka-pimatisinawaw, nis1mitik, 6ma ka-otinamek ayamihawin." Tapiskoc ayamihewiyiniw Wisahkecahk, e--miyat mahihkana ayamihawin. Ketahtawew e-apit mekwac Wtsahkecahk, kahkiyaw enipiyit. "Maci-kakepatisak 6ki! Niki-ohci--ta-tipahikakewan !" itew esa 6hi mahihkana W1sahkecahk. Ekwa wiyinihew, e-kiwehtahat, ekwa mahkes1sa mina kahkiyaw. Mahihkana ayamihawin ka-kiskinohamawat kahkiyaw nipahew. Ekosi kahkiyaw tipaham omasinahikewina, e-wayesimat mahihkana. Ekosi ekwayikohk. Wfsahkecahkwas very poor; he had not even clothing in his house, where he dwelt with his family. Then at one time arrived some Frenchmen who were going about buying furs, wolf-pelts and buffalorobes. But Wfsahkecahkhad no furs to sell. The other people had many; they bought many clothes, but Wfsahkecahkhad none at all. Then he spoke to the Frenchmen as follows: "Won't you let me have credit? I haven't any furs. But in a short time I shall have a good many with which to pay my debt." Thus Wfsahkecahkspoke to the Frenchman: "You will not need to pay anything. If you give me credit, in a short time I shall have them." "Very well,"-- the Frenchmen--"What do you want, Wfsahkecahk?" "TWoblankets, two pairs of breeches and two coats and a gun." Then he took a great deal of clothing. Then Wfsahkecahkwent home. He gave all of it to his wife. This is what his wife said to him: "Crazy old man, where can you get anything with which to pay?" He answered, "Old woman, once more I shall go see the Frenchmen." So he set out. (continuedon page 27) POWWOWISSUE1998 "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN .& 23 �CONTINUEDFROM PAGE 22 Some little time intervened before the mother arrived , panting and covered with perspiration . Her path had been long and she had run most of the way. Without a word she dropped her load and hurried t~ the bush . A great suspicion had come over her. Sure enou~h , there Jay her pets in a heap, dead . Only one little snake came out to tell her what had taken place. An insane fury came over her, and she ran to wreak vengeance upon her husband for the death of the reptiles. In the meantime, the man had been making preparations ; he had pu ed a net over the door and he t e in hand , ready for his Sh roached furiously, b as arrested by net; only m n y tthern skies at nigh t1 the Great Dipper; to one si Little Dipper, which is the b his former wife, always chasin but afraid to go too near the a of the North Star, who loves her hus~ band and therefore is ready to pro-tect him. THE FLIGHTOF WISAHKECAHK With wonderful speed the head of th~ mother rolled after the two boys. This was now Chichipischekwanthe Rolling Head . From afar the 'boys could hear her say, "Where - where can you flee? I am going to kill you!" isahkecahk , for th at we must now ~all th e boy , ran faster , holdi ng his litt le brot her. Ever nearer came the voice of his mother. Somethin g must be done . He remembered the advice of his father and, putting his brother down on the ground, he threw the Awl behind him, saying at the same time , "Let it be as my father said .'' Immediately there came to be a seemingly impenetra ble hedge of thorn s between them and their pur suer . Once more he took up his brother and fled . Rolling Head could not find an gening anywhere . She went up and down, but the hedge , extended from sea to sea ; there was no alterna tive but to force her way through somehow ; and this she proceeded to do . Here and there she rolled, screaming with pain and fright as the thorn s pricked her. How long she took to make her way through is not told, but in time she was free on the other side, bleeding all over but more furious than she had been before . It is said that this hedge of thorns disappeared as time went on ut that remains of it ar~ ·11to be seen in the cacant in the th --'----' ~-...;:i;.....:.:..-_;...!;:-~.:....!.. ~ -~~;._..:__.....:.:_~ re in t e flee to? aid dow and, throwing the pie behind him, said, "Let e e be a mountain from one end of the earth to the other." Immediately, Rocky Mountains sprang up and once again Rolling Head found herself thwarted. Back and ~orth she rolled, looking for an openmg through which she could go; but she found non Imbued with unnatural power thou she was, a time came when she exhausted. She lay down besi wall of rock and slept. A st sound awoke he r. It see mingly from the heart of the sound grew l she saw a ho ster worm through th as the G Banff an Here the wor crushin hole. whi let her scratche �fronted by a great flow of water that 'he realized his fatal mistake. The river w Head be ina. He and his Jittle brother were now at the mercy of their mother, facul ·es cleared; and he ran along the sid~ of the river, seeking some wa-y,of e Wh en abou:t to despa ir, he saw two old .patriarchs . They were great Bitterns, o on e1the bank of the river, exactly opposite to each other . These birds are quit were Msters in size . He ran to them and implored them to pdt him and his refused to do . They were not bad at heart , however , for in time they took pity on their necks side by side , and on this hastily improvised bridge, the fugitives er ln a moment or two Rolling Head came up. "Put me across!" she commande Head was a creature well vers made many flattering remarks were pleased, she kept on W1sahkecahk implored them n birds once more placed their Head pro ceeded to cross. Her naturally wicked nature weather had given rheumatism painful. Rolling Head, when s began to jump up and down a THE BEST OF BOTH CITIES Travelodge FreeIn RoomCoffee• FreeLocalCalls ModernRooms& Suites LicensedRestaurant,Lounge,Bar SASKATOON REGINA Meeting/Banquet Rooms l 06Circle Dr.W. 4177Albert St.S. IndoorPool& Waterslide Saskatoon, Sask. S7L4L6 Regina, Sask. S4S3R6 TravelodgeMilesGuestRewardProgram Ph:(306)242-8881 Ph:(306)586-3443 Fax:(306)665-7378 Fax:(306)586-9311 Toll Free: 1-800-578-7878 - ---- - -- .,,. - - - ® < - as her own undoing. Recent wet o the birds and their necks were e saw Wfsahkecahk on the bank, she crossed. The incensed birds pulled up their necks; and she tumbl ed into th e river. The boy, Wfsahkecafrk, acting on the insti ct which was later to bring him into such prominence in the a airs of the young world, took a stone and, throwing it into the ter wher e his mother's head had disappeared, yelled out the w rd, "Namao! Namao!" !Sturgeon!. The Head whisked its tail and s am away, a fish. Thus th e mother who, beca e of her evil ways, had lost the highe st that mortal can attain, as de stine d forever to play th e humbler role. But even against er evil will she made he rself use ful to man by becoming th e fish now found in our rivers, called by the Cree Indian s, Painting by Tyler Bain , Nutana Collegiate Hotel in front of them and the Rolling d he knew what that meant . His pe. The river seem uncrossable. men in appearance, sitting, one arge now; but in those days they rother across the river. This they he plight of these boys. They put sed safely to the other side . . The birds refused. Now Rolling in the wisdom of her kind . She o the Bitterns . Seeing that they ill they offered to help her. t to do so, but to no avail. The eeks side by side and Rolling ~ ... ,.,..~- - ...... namao. from The Journal of Ame rican Folklore 1929, volume 42, 309313. SASKATCHEWAN 9 25 �TRADITIONKEYTO SIFCPOWWOW'S SUCCESS Pratt says. "I think all that has been very good to me." He believes that this opportunity for cultural expression is a large factor in the success of the powwow as it continues to draw people back, organizers and participants alike. "Cultural freedom is very healthy and very positive for the individuals and social groups," he says. Originally designed as a stressreliever for students before the on-set of exams, the powwow has grown to a true community event. Culture and tradition are two of the driving forces behind the success of the Saskatchewan Indian Federated College's (SIFC) Annual Powwow. For the 20th year in a row now, SIFC has hosted a powwow in Regina for students, faculty and anyone else who wants to participate. Charles Pratt has been the Chair of the Powwow Committee for five years . He attributes the success of the powwow to a variety of contributing factors. The first is the dedication of the staff and students of the SIFC and the volunteers. Year after year, the same hard-working individuals contribute to the event. "I think it's still a positive experience for them," he says. This comes, in part, from the cultural aspects associated with the powwow. On a personal level, "I learn a lot about my culture," 26 SASKATCHEWAN tit A.'1 ..-~ "It puts back into the community, " says Pratt . This year, 34 drum groups and close to 700 dancers registered for the two-day event. But Marlene Lerat, another powwow committee member, believes that more than 800 dancers actually participated . Of the registered dancers, more than half were under the age of 16 including 167 tiny tots. This number, indicative of the predicted Aboriginal population boom, speaks positively to Pratt. "Personally, I think it is good for them," he says . "There 's an attitude at the powwow that they are coming to that draws them into the circle." He is confident that they are learning something and taking knowledge about their culture home with them. More than 6,000 spectators are estimated to have attended this year's event. While these numbers are not up significantly from last year, Pratt is not concerned . It is not growth that is the priority, he says, but stability. The people who attend the powwow are genuinely interested in partic~ :t?1 ipating, something which makes all the difference. "The thing about this powwow," he says with pride, "is tradition, the sameness with the past." ~ AJJpho tos by Shannon Avison "COLLECTIONSOF OUR CULTURE" POWWOWISSUE1998 �(continuedfrom page 23) When he entered, the Frenchmen said, "Well, Wfsahkecahk,have you come to pay? " "No," said Wfsahkecahk , "Give me some poison ." "What do you want that for?" "Oh, I am going to kill some wolves ." So the other gave him some med icine , po ison . Then Wisahkecahk went home . When he came into the tent, "Old woman, give me some fat." She gave him fat. Then he put the poison into the fat; and into a small dish he poured the fat. He shaped a great many little lumps of fat and cooled them until they were hard. He took them all, and went out to look for wolves . Presently he saw a wolf. "Hey, brother, come here!"~~to that wolf. "Oh dear, no!" said the wolf; "Why, you want to kill me!" "No, little brother. I want to employ you ." "How do you want to employ me?" "I want to give you the work of going round and summoning the wolves and foxes, all the good~look~ ing foxes . I shall be sitting here on this knoll, ready to preach to you , to tell you good tiding. " So that wolf went off to call the wolves and foxes. Indeed, many wolves came . In great numbers they sat round in a circle, to listen to Wfsahkecahk , exactly as if he were a miss ionary . This is what he said: "My brother , the tidings which you hear you should accept, and then no one will ever kill you, if you take on religion . But if you do not believe, someone will kill you . Look upon these things , these here! " As the wolves and foxes looked at those pieces of fat, "Now then, if anyone eats this which I shall place between his teeth , long will he live," spoke Wfsahkecahk . Then all the wolves cried, "I, I!" glad that they were to live long . "Here you are!" and he gave them the fat. A wolf would eat it; then he would go. He placed it in their mouths one by one, round the circle, the foxes too, using up all the fat. "So now long shall you live, brothers, now you have accepted this faith." Just like a priest was Wfsahkecahk, as he gave religious instruction to the wolves . Presently, as Wfsahkecahk sat there, all the wolves leaped up in the air and fell down, poisoned, and they all died. "These stupid fools! I surely did need something to pay my debts with!" Wfsahkecahk must have said to those wolves . Then he skinned them and took their skins home , and all the foxes' too . Having taught the wolves reli~ gion, he killed them all. In this way he paid all his debts, by deceiving the wolves with talk. That is all. SaskTel. InPartnership UJilh flboriginal Communit SaskTel and its Aboriginal Customer Services team are proud to work with Aboriginal communitie s across the province , improving access to communication services, building alliances, and encouraging students to remain in school. Communicationis the answer, and SaskTelis proudto share in the solution. reprintedwithpermissionfromSacred Storie s of t he Sweet Grass Cree by LeonardBloomfie ld. Copyright 1993. Fifth House Publishers, Calgary,Canada. SaskTel WWW �JerryWhitehead Over the years , Jerry Whitehead 's artwork has gone through a number of stages . The one thing that has remained con stant throughout this progression is his focus on powwows and powwow dancers . "Powwow dancers have been an ongoing theme in my work since I began painting . Seeing the dancers as a child had a lasting impression. The subject matter has been ideal for expressing a part of my culture as well as accommodating changes in my work," says the artist from the James Smith First Nation. As a child in Saskatchewan, Whitehead says he was interested in art like any of his friends. He says, "I used to draw as a kid. I used to draw all the time ." Unlike the average kid, he used almost any source he could find for his drawings including the ashes that remained from fires and the lead in the bullets his father used as a hunter. In his early teen years, Whitehead moved on from drawings done with pencils and lead to paintings. He believes that his interest in art comes from his family . Whitehead remembers his grandmother working with hides and says that his mother did beadwork and braided rugs . 28 SASKATCHEWAN illldHHAliil His family suppo rted his talents and allowed h im to develop them . "I was lucky to be encouraged along the way," he says . In addition to familial encour agement and an abundance of natural talent, Whitehead has sought out technical training . He obtained a Bachelor of Arts in Indian Art from the Saskatchewan Indian Federated College and a Bachelor of Fine Arts from the Nova Scotia College of Art and Design in Halifax. Upon completing his formal training, Whitehead began showing his work in exhibitions across the country. In the eleven years since, he has had numerous shows in Saskatchewan, Ontario, Nova Scotia and British Columbia. His work has been commissioned by University Hospital in Saskatoon and the Summer Pops Symphony at Cable Wharf in Halifax to name but two. Whitehead says that his style has changed over the years . "I went through a lot of different stages," he says. In the beginning, Whitehead did beadwork and attached the work to his paintings . He also says that, for awhile, he used to wrinkle his canvas to give his paintings a dimensional appearance . But, as in ·his current work, powwow dancers and powwows remained an integral theme . He currently produces abstrac t paintings that demonstrate his fondness of vivid colours. This , he believes , was learned from his mother and her bright ly coloured , braided rugs . He says that this current style "just developed " over time . "My work is a little tame r now ," he says . "It's mo re refined ." He attributes part of th is change to developmen t ove r time say ing he took more risks when he first graduated from school. The other part of the change can be attributed to the fact that he is now a family man . As such, Whitehead says that he is incorporating family themes into his work on a more frequent basis . Whitehead is quick to shrug off labels for his work. He says that many people try to define his style but he refuses to limit himself in this way. He is always looking for new ways to adapt and change. "Lately I've been putting letters, words, sayings in my paint ings, " he says . "'Let's Dance' lthe painting featured on the cover] is about Mom in the middle , Dad and little girls; the small family ready to dance all day all night among the others. 'Let's Dance' is written in the painting." Jerry Whitehead currently resides in Vancouver, British Columbia but his work can be seen throughout western Canada . He has displays in Saskatchewan at Artworks in Saskatoon and at the Wanuskewin Heritage Park. For more information on Jerry Whitehead or his artwork call (604)251-4399 . "COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �Saskatchewan and Aboriginal Peoplesin the 21st Century: Social, Economic and PoHticalChangesand Challenges .,. Vrtal Information for Planners & Strategic Thinkers ~·~···.• ............\ .• ..·.:·•·····, · This timely study can assist you in developing business and operational plans that recognize the Aboriginal potential. It is clear, it is concise and it is available now. For anyone involved in charting the future of a private, public or volunteer sector organization, this comprehensive and revealing book will provide the data to forecast how individual organizations can benefit from partnership with the Aboriginal community . An es sential R esoJ 'rce ·. GST Guide to, g~vem=nt business SoftCoverCopy and $20.00 1.40 and planning I wouldlike SoftCoverCopies @$24.90= I wouldlike HardCoverCopies @$51.65= Shipping Total 3.50 $24.90 □ HardCoverCopy $45.00 3.15 3.50 $51.65 CardNumber GST Shipping Total Submit completed farmwith paymentto: Aboriginal ImpactStudy 1150EighthAvenue Regina,SK S4R1C9 TollFree : 1-800-667 -5595 Telephone : (306)525-2304 Fax: 1-800-823-6829 Without question, this is the most essential resource and guide for the future. Payment Enclosed □ Visa □ Mastercard ExpiryDate Signature First Name (PleasePrint) LastName Organization Title (Profession) MailingAddress City/Town Province PostalCode Telephone Fax E-Mail �Four of a kind is a winning hand at Saskatchewan's First Nations Casinos! Gold Eagle, N orthem Lights, Bear Claw, Painted Hand - ~fl ) , _Jonr_ JoJ-t-r ·focatro~ 4 Casinos, 4 Locations, Live Gaming. Slots, Blackjack, Poker, Roulette, and more! SIGA ... Raising the stakes on excitement. ~ PAINTED HAND CASINO Yorkton ;//f/l GOLD EAGLE CASINO casino North Battleford BEAR CLAW CASINO White Bear First Nation fii';"7 NORTHERN LIGHTS CASINO Prince Albert � 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. 28, no. 3 (Powwow Issue 1998) Subject The topic of the resource First Nations--Saskatchewan--Periodicals Description An account of the resource Contents: Miss Indian World: A Once In A Lifetime Experience I had the opportunity to meet 25 wonderful girls and I made numerous friends. To be a participant of Miss Indian World was an exciting opportunity and a once in a lifetime experience. By: Anita Large Powwow issue 1998 Storytelling Is An Art Form By: Saskatchewan Indian Powwow Issue 1998 Another Good Powwow By: G.R. Mccallum Powwow Issue 1998 Red Bull Keeps Drumbeat Alive For more than ten years now, the Red Bull Singers have remained dedicated to ensuring that the drum, the voice of First Nation people, is heard throughout the world. The drum group has performed across Canada and the United States from Seattle to Los Angeles to Oklahoma. And, in 1995, they were part of the Goodwill Games, travelling to Poland, Finland, Sweden and Russia to spread their sound. By: Saskatchewan Indian Powwow Issue 1998 Saskatchewan Powwow Dancers Showcased By: Saskatchewan Indian Powwow Issue 1998 Let’s Dance: Jerry Whitehead By: Saskatchewan Indian Powwow Issue 1998 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 1998 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Large, Anita McCallum, G. R. 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 1998 Powwows Storytelling https://d1y502jg6fpugt.cloudfront.net/25945/archive/files/adf2799d64dbac950bb28cd6a9a13c0b.pdf?Expires=1779926400&Signature=WJtdhfeK-TpWUz1%7Efk4IenmD7jf06tnBLqs4PTvuTAppoRAtQ%7EUAGFKF4ln2kxWALWXYr3qh3QNxhmLELM-KdKKrLKlpxfvz3-i0noOIEdePFS7inNd6UPZdb05YeWRcs2p5YHPFzmfdb3Db1n9rf%7EhMA95tnYLyylYEjLPXppedaXlVYxYGm4SgR3DWzCn8NAEw8qWTzE%7EHbh0njUTbV%7EWHU3blOaNsafyzMJb814aOO9Gbbu4em3OiBnzhv-u8f%7E8Vjc6Pu6sIdzEF-hz-l48qON0psx0ORAJiKWOuwW-uCzQ5CZdekqp8tf5eiHWd-6jDokIoi-RIlwkfxzYuWA__&Key-Pair-Id=K6UGZS9ZTDSZM 1bedae22d7c9f0e26440a6e0ab8c94a8 PDF Text Text �Saskatchewan and Aboriginal Peoples in the 21st Century: Social, Economic and Political Changes and Challenges Saskatchewan and Aboriginal Peoples in the 21st Century: Vital Information for Planners & Strategic Thinkers This timely study can assist you in developing business and operational plans that recognize the Aboriginal potential. It is clear, it is concise and it is available now. For anyone involved in charting the future of a private, public or volunteer sector organization, this comprehensive and revealing book will provide the data to forecast how individual organizations can benefit from partnership with the Aboriginal community. An essential \. Resource ; and Guide for gov~rnment business OriieliliOJiID and planning I wouldlike SoftCoverCopies @ $24.90= HardCoverCopies @ $51.65= SoftCover Copy GST Shipping Total $20.00 1.40 3.50 $24.90 I wouldlike HardCover Copy GST Shipping Total $45.00 3.15 3.50 $51.65 CardNumber Submitcompleted formwith paymentto: F.S.I.N. 200-103APackham Avenue Saskatoon , SK S7N4K4 Telephone:(306)665-1215 Without question, this is the most essential resource and guide for the future. □ Payment Enclosed □ Visa □ Mastercard ExpiryDate Signature FirstName (PleasePrint) LastName Organization Title (Profession) MailingAddress City/Town Province PostalCode Telephone Fax E-Mail �s WAN - Vo l. 29 #2 IN THIS ISSUE Interview with Edmund Bull Introduction ....................... Interview with George Ceepeekou s Introduction .... . ........ . ............... ... . . .. . ............ One Rainy Morning . .. . ... . .. . . . . .. . .. . .. . ............................... Back in the Old Days . .... . ........................ .. . . . . .. ..... 2 3 3 .. .. 3 . ..... Northern Lights Dancers Maintain Culture Through Dance .. . ... . ..... . . ... ... ........ . ............... .... ........ ... . 4 Passing on a Tradition ..... . ........... . ............... . ... . .. . . ...... . .. . 5 The Drum Keeper and the Spirit ..... . . ..... ..... . .. ....... . ..... .. .. ...... 5 Saskatchewan Indian Federation of Saskatchewan IndianNations Suite200 • I 03A PackhamAvenue Saskatoon, Saskatchewan S7N 4K4 Telephone:(306) 665-1215 Fax: (306) 244-4413 The views and opinions expressed by contributors to Saskatchewan Indianare their own and do not necessarily reflect those of Saskatchewan Indianor the Federation of Saskatchewan Indian Nations. The Prairie Chicken Dance Style .... .. . ... .................................. Piciciwin (the moving slowly dance or Round Dance) ... . .. .. ...... A Lawyer, A Powwow Dancer - Dean Head . ..... The Drum I Use ...... .. . .... . ............... My Dad , My Teacher ... .... Women Singers .. .... . .. . .. . .. . .. . .. . . ..... . .. . ...... Chasing Down a Dream ... . .. .... PAINTING UNTITLED ARTIST: TINA MARIE ARCAND . . . ..... . ....... . ..... ..9 ..... .. I 0 .. ..... . .... . . ....... . .. . .. .. ..... . .. . .. .. ..... .. .. . .. ... .. .. 15 ... .... .. . . . .... . . .. . .. . .. . .. . .. .. ..... ... . .. .. .. .... . 17 .. . . .. .. ... .. . . .... . 18 19 19 Winning Now and Then . ....... .. . . .. . .. . ...... .. .. . ... . ... . .. . .......... The History of Crooked Lake Agency Singer .. . .. . .. ............ .. ..... . ........ ..... . .. . . ..... I Love to Dance . ... .. . . .. . ............... Planning a Good Celebration . ... .... . .... It is a Good Feeling ........ . . .... . .... . .. . .. ....... ....... . ........ . .... . ... . .. .. . ....... 22 . . .. . 23 . ... .... 25 26 . . ... .. .. .... . . ... . 27 . .. .. .. .. .. .. ... .. 27 Guiding Your Talent with Beliefs, Profile Tina Marie Arcand ........... .... . .. ..... SaskatchewanIndianis published by the Federation of Saskatchewan Indian Nations Production Manager : Jocelyne Wasacase (306) 664-2044 SaskatchewanIndianAdvertising Sales : Dale Johnson (306) 652-8557 Copyright 1999. All rights reserved . ISSN 0048-9204 Printed in Saskatchewan "THEHEARTBEATOF OURPEOPLE " 19 20 ... . .. .. ... .. .. 21 .. . ........................... .. ....................... Aboriginal Art Gallery Saskatoon ............................................. Raising My Family .. .. . . . . ........................... Getting My Rewards . . .. . . .. . . . ..... . ..... . . .. .. . ...... 16 ... .. .. . .. .... Unless it is Given to You ............... . ................................. The Song I Passed On . . . .. . . . .. . . .. . . .... . .. ............................ Dance Competitions . .... POWWOW ISSUE1999 9 . ............... Summer Event Calendar ..... . . . ......... . ................ .. ... .. . . .... .. .. . 12 Pihewisimowin (The Prairie Chicken Dance Ceremony) ........................... 14 My Outfit . .... .. ... ....... .. . .. . .. . .. . .. . .. . ... . .. . ... . ... .. ... . .. ... .. 15 I Don 't Know How He Knew .... ON THE COVER: . .. ... . . . .. .. . . .. . . . . . . ... . . . ... 8 .. .. . ... . . . . .. ... .. .. .. . ... . ... . .. . ......... Drum Making is a Gift .. .. . . . .. . .. .. . .. . .. . . ... ......... Come & Dance Together .... 6 .. ... 7 .......... SASKATCHEWAN I 28 �The 3rd Annual Saskatchewan Indian Powwow Issue 1999 features George Ceepeekous and Edmund Bull. Saskatchewan Indian brings you their personal stories of the powwow trail, and what powwow means to them ... tdmund Little Pine First Nation and is well known across North American's powwow trail. Bull is the lead singer, manager, and drum keeper of the Red Bull Drum Group. The Red Bull Drum Group were named the best in the world at the 1995 and l 997 Schemitzun World Championship in Hartford, Connecticut. Bull's singing has taken him throughout the world to such countries Bull also recorded with talents such as Buffy Sainte~ Marie. On her Juno award winning compact disc "Up Where We Belong," Bull co~wrote the lyrics to the song "Darlin' Don't Cry." Poland, Finland, Sweden, and Russia. 2 SASKATCHEWAN (continuedon page 5) iillll i A lil "THEHEARTBEATOF OUR PEOPL E" POWWOW ISSUE 1999 �The honour is truly ours . Saskatchewan India n has been fortunate enough to sit down with Gemge Ceepeekous and his wife , Stella , recently. From their home in Kawacatoose First Nati on, Ceepeekous recounts hi s fir st experience of the Grass Dance . For most of h is 79 years on Mother Earth , Ceepeekous has been a Prairie Chicken Dancer. If you see this man at a powwow , you will recognize him , because he is the first dancer up , and the last o ne to go to bed . Ceepeekous ' stor ies are certa inl y enjoyable, and we are proud to share with yo u, some of his stories ... Most people don't think I'm 79. was born in I 920, on Gordon's Reserve. I was born in a tent, one rainy morning. My Dad had a dream about me the night before . In his dream , someone came and told him he was going to have a boy, and he was supposed to give him this name, my Indian name . As soon as I was born, he gave me my Indian name . I don't tell any~ one my Indian name, because it is sacred. Photo by supplied by George Ceepeekous "Jdo-n't~b¼4fJ~abl ll~ bu to,wdo/4~ ~J do-n't~to,~ ~• J ~ i,dL 'fOU(M mudt, (M J ffllf ~, ffllf ~··· J wa:t ~ ffllf ~ t/4u ~, 'tt)/wn ~ c<#n0:i to,'fOUUkeihki, ~I bhealitpWi~duan~_,,, You know, these powwows have changed a lot. It is not like long ago, 'cause in the l 920's, it was way different. Most of those pow~ wows were a sacred doing, like as far as I can remember, in the I 920's. I was six years old when I started to dance grass . l 926 is a long time ago. All those dancers, none of them are living today . I was just a kid then, now they have all passed on. That time, there was never a woman dancing grass with men. Dancing grass was a sacred doing. Women had their own dances. Women had two types of dance . One was a Grass Dance, and the other was a Round Dance. A few years after that , things started to ~George Ceepeekous , 1999 (continuedon page 6) POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE" SASKATCHEWAN �NORTHERNLIGHTSDANCERSMAINTAINCULTURE THROUGHDANCE By Darren Deschambeault Since their beginning two years ago, Muskoday's Northern Lights dancers have experienced growth and well being in their pursuits as a dance troupe . Motivation and self-esteem are the traits gained by their endeavors . Throughout the Prairie Provinces, the ten children have left their mark in the competitions they have entered, and their performances thus far, have paid off. Ranging in age from nine to thirteen years old, the children all work as a team, to compete . The biggest competition they have been involved with, was in The Pas, Manitoba, where they took second in the junior category . There were fourteen teams entered . This made the troupe very proud. "They're having clean fun, without the pressures of society. " Todd Bear says . The troupe focuses on the Square Dance, which is a crowd favorite. With a fast, uptempo beat, it keeps the dancers on their toes, and the crowd at the edge of their seats. It is quite enjoyable. This is an old-time style of dance, which has been with us for many generations, and is a great form of cultural aware- 4 SASKATCHEWAN-~l~ ■ A•~ "Culture is important for well being." Todd explained. He hopes this gets stronger as time goes on . "With this dance troupe and others like it, I am sure this aspect will survive, as well as get stronger. I know there are people who would like to see our heritage grow . Through practice, which keeps our children happy and motivated, you can bet that there will be future generations following the same dream, and nurturing the culture of all aboriginal people . Dancing has been around for thousands of years . The young people ness for the people involved. are maintaining their culture Dancing has been with Native through hard work and dedication. Through dance, these children people for a long time. Todd Bear, the troupe's manager, would like not only learn how to work well as these kids to pass on the square a team, but they also grow in dance tradition to future genera- becoming good people . The kids tions, keeping it alive for others to learn to share and care for one enjoy. another, as well as their competiThe children enjoy meeting First tors. By example and practice, Nations children from other they gain self-respect and a positive attitude. Through their provinces and communities humility, they have throughout their travels. They acquired learned to lose well and congratupractice once a week, throughout the dance season. Before competi- late their opponents, maintaining with one tions, they practice as much as positive relationships three times in one week. Bear says, another." ~ ·i~ "The young children know that if they put 110 per cent in, that is what they will get out of it." They have also performed at Chiefs' conferences, and some national assemblies. The Northern Lights Dancers have strong local support in regards to fund raising, as well as moral support. They are all involved in the fund-raising efforts, which is accomplished predominantly through ticket sales. "THEHEARTBEATOF OURPEOPLE" POWWOW ISSUE1999 �Whendrivingin Saskatchewan ... Slowto &Okminthe OrangeZone Remember ... the orangezoneis dangerous Slow to 60 km/h in the orange zone. Highway construction and maintenance zones (orange zones) are dangerous. Reduce your speed , use extra care and save lives. • Look for this sign-it marks the beginning of an orange zone. • Reduce your speed-slow • Use extra care-you owe it to highway workers and yourself to be alert in the orange zone. to 60 km/h. Accidents in the orange zone can be avoided if you follow these simple safety rules ... ■ SaveLives. Saskatchewan Highways and Transportation continuedfrom page 2 pe:.,s;s;i1n.g <>In. e:.. t r-e:..c::I it i <>In. #Ce!e! pe! the! My dad is a singer, and I used to listen to him sing when I was small. He would sing with a hand drum. When he was not home, I would take his drum and sing to myself. That's how I started to sing, just on my own . When I turned fifteen, I started to sing in a group with my dad and my uncles. .,,,- e:..1n.d Spir-it As the manager of the group, Red Bull, I keep the drum, so you say that I am the Drum Keeper. A lot of drum keepers believe in smudging their drum with sweet~ grass before singing at a powwow. Smudging the drum with sweetgrass, is a way to respect the spir~ it of the drum. It is believed that there is a Drum Spirit, and it is considered sacred. To care for the Drum Spirits, some Drum Keepers will feed their drum. This means they will hold a feast in honour 'Of their drum. The Drum Spirit is what gives dancers energy to dance, and it also gives energy to the singers. This Drum Spirit is what we mean by, "The heartbeat of our people". (continuedon page9) POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE " SASKATCHEWAN I • _., 5 �Back in tfzeold days... (continuedfrom page 3) /Jackm 196 I, a, pu:wue ~ in<tkidz, /,o.ik IUMe/Ule ft-omf<~. cJ/ebnr1eJ~ in he da;ded ~ o!J, and~~~ o/ra,~, kuJz, andfnt/4.cJ/e~ (Yld4 /;adcmhd da;ded /,o.tlunlz,{}eq, tkzt rme ~- M'f wi/e andJ {,(,J.e/le rom- /;um/, o/rf1Uf w. J /ud/,o.dop,.1/ienall bnr1ed~ m /;um/, ofrmlf uiw.J, ~-'Ji ~~ ca//, ca//,, cmik ~- cJ.luLdtLe /;eel {,(,J.e/le ~ fed. cJ/eum,J,d dhak,, cmd/;op, ~ in a, ciAde.J uiw.J, jMi like he uiw.J, ~ me holAJ/,o.danceik - $~ J dai ~, cmdwdclzedkm, &mceudd he wad, dcme.cJ.le~ ~ w.1, ~ akat kn k /Afe,e,n ~Umehe~~, tlzenhe/)ew-~-. 1/iu d 1he~ a, biueMoluf/ L - R: BillMcNabb-Gordons,Harry Asapace,GeorgeCeepeefwusKawacatoose, RuebenRider-Carrythe Kettle. l 940's Kawactoose Powwow ·· :: . Tu The chicken dance. I call it the Prairie Chicken _... change. They started to have Dance . This is how my dad made me understand it. .. 4 """'mixed (men and women) Grass, You can say it was the Straight Chicken Dance . I ' '; t -~ and Round Dances. That's what I heard a lot of places calling it different, but I learned remember. That's how it was. it as the Prairie Chicken Dance. One thing I don 't like, is just calling it the chicken dance. Some peoThere was never a woman dancing grass, or joining the men, not even ple who don't understand this dance, might think of it as dancing in one place. You could a farm chicken, or some other chicken. At one powwow, they were making fun of it. They called it get a fine if you did those things, that time. the Kentucky Fried Chicken Dance, and I was They never started a powwow in the bunch, dancing. They called us the with a Grand Entry back then, too. Kentucky Fried Chicken Dancers . That is not right, you know. It This started a few years later. They offends us. used to just call the dancers, and I know that who was ever ready, just went in . the Prairie They didn't set the time either. Chicken Things started when people were Dance started ready . the same When my family used to travel time as the to a powwow, they would go with a Grass Dance team of horses, and a tent. I style . There remember going to Piapot powwas one old wow one time. It took us a few man, a long days to get there. Then we would time ago, stay for two nights . They used to watching have a sports day, and then a powthese prairie wow. I used to run the six-mile foot chickens in races, and won a few. I guess that's the spring . why my legs are good . They were In the winter, they would also have powwows . These powwows Art by Daniel Stonechild mating, and doing their were a gathering again . They would also hold a feast . They courting dance. That's where he up these dance would make soup with meat, and picked prepare fruit, like saskatoons . PrairieChickenDancerBrianWaskewitch ~ 6 SASKATCHEWAN . "THEHEARTBEATOF OUR PEOPLE" POWWOWISSUE1999 �styles. Grass and Prairie Chicken Dance is almost danced the same way. One time at a powwow, me and a few other Prairie Chicken Dancers were in a Chicken Dance contest . The judges picked Traditional Style Dancers to win. Not one of us Prairie Chicken Dancers placed! That was funny. This dancing style pretty near died out one time. There was just myself, and another guy named Bob Kaye. Bob is from here, Kawacatoose. I danced with him twice before . But then I got some young guys to start dancing with me. We would practice every week. Soon there was about twenty or so dancers. That was for a while. Now there is only two left from that group, myself, and a fellow named Warren Kaye, who is also from here. I got my own style. I don 't swing around, or I might trip over. I dance straight. The easiest way I find to dance, is on my toes. I don't dance on my heels. My style has no double beat. Sometimes I have to dance double time . But that doesn't get me stuck, as long as I listen to the drum, and the singing. (continuedon page 15) performed during Piticiwin (The Moving tions, or powwows. Slowly, or Round Dance) By Pat Deiter The Plains Cree received this dance from the Assiniboine, who called it the Moving Slowly Dance. A Cree gave this explanation of the dance to David Mandelbaum, an anthropologist. The Moving Slowly Dance came from the south. A woman of the Mud House People, (one of the village tribes of the Missouri, probably the Mandans), had four adopted children. She made feather bonnets for them, and showed them how to dance . A different woman would wear the bonnet for each song . th at is what I heard when I visit e Rocky oy Reserve in Montana. The M ng S Dance, as we do it now, (without a bonnete f), was first danced by the Stoney. This was at the time of the Rebellion, (1885). They captured one of our men. That is how we got it. The dance was held during times of sickness; however, it was also deemed as a social dance, and began with a Pipe Ceremony. The music followed a, "One-two", beat of the drum. Dancers formed a circle, and stepped in a clockwise shuf- our modem Indian celebra- The Grass Dance and Round Dance were part of all celebrations put on by different societies. There were a series of officers in this Society, the Chief of Dancers, the Drum Keeper, the Servers, the Pipe Keeper, the Gate Keeper, the Whip Keeper, the Belt Keeper, the Singers, the Grass Dancers, the Belt Dancers, the Feather Society, Cowboy Society, and the Macanesk Society. All were intact until the l 950's, with the exception of the Blackfoot. fle. POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE " SASKATCHEWAN llilllill~lill 7 �A LAWYER, A POWWOWDANCER - DEANHEAD by Blanche Crowley-Head Like many First Nation kids in Saskatchewan during the l 970's, Dean grew up in the arms of the foster care system. It wasn't until his teen years that he had the opportunity to rebuild his connections with his family, community and cultural background. As a SCN... More than greatTV SC N offers great TV with strong First N ation s cont ent . Our n etwor k also connects reserves and rural communities with uni versities and the Saska tch ewan Indi an Federa ted Co llege to deliver credit courses. For inform ation about courses or programming, ph on e 1~800~667~5055, e~mail scn @uregin a.ca, or visit our Web site at www.scn .sk.ca 4 SCN 8 SASKATCHEWAN illilEtiAllil teenager and young man, he remembers watching powwows from the stands, wishing he could be one of the dancers out there on the floor. His maternal grandmother, an old Sioux woman named Florence Duquette, now in her 90's, was one of the first to take him in hand after he returned to his reserve . She instilled in Dean a sense of pride and belonging by teaching him about his Lakota Sioux background, both in terms of genealogy and teachings . After a few years, he left the reserve again, this time to attend university in Regina. There, he completed his Bachelor of Arts degree in Indian Art at the Saskatchewan Indian Federated College, and assumed a lectureship with the Indian Art department. By now he had met his future wife, Blanche, as well as a man named Bob Boyer, who would become his mentor. Dean entered a new era in his life as a married man. This year was marked by the compelling desire to put his dream of dancing powwow into action . At first, Dean remembers, "I tried to do everything (getting ready to dance) without really involving my family, which is the worst thing anyone can do." He didn't realize it clearly, but "Blanche kept everything on an even keel and continues to do so ... With her support, I find the strength to look beyond my own insecurities and try to do those things that I've always "THEHEARTBEATOF OUR PEOPLE" wanted to try, everything from painting to dancing, law, acting, martial arts and radio announcing ...By the same token, she 's the one who makes sure I realize that nothing is worth anything unless you couple it with trying to be a good person ." Dean feels that dancing powwow would not be possible if not for his wife and kids. "It's simply not possible. Family is why my wife and I, in turn, make sacrifices in order to be able to do the things we dare to dream about, whether it's dancing powwow, or becoming a lawyer ." Without his family, Dean asks, "How would I dance? How could I dance? " It took Dean a year to prepare to dance. Kohkom arranged for his naming. She enlisted the help of the (continuedon page 16) POWWOW ISSUE1999 �continued from page 5 '«-h~ c:1..,,,-.,._,,.,,,._!!!f; 9 J-vl.e..l<i.,._g i!!!f; c:.. ~•rt ... There are two types of drums I use, a hand drum, and a powwow drum. The hand drum is small, and is held by one person . In one hand the drum is held , and in the other, the drumstick. Sometimes there is only one singer, My dad makes his own hand drums. He would prepare the deer hide . He not only made these drums for himself; he would sometimes make them for other men. A friend of mine, a singer, wanted to make a drum . He didn't know how, he thought he would just try it. He made a good hand drum for himself; of course he must have watched someone else. Drum making is a gift. It has to be done right, to make an each person holding their own drum. The hand drum effective sound. The hide has to be the right thickness, to make a good sound. Drums are made mostly from moose, deer, and elk hide, but nowadays, they can be made from cowhide. is often used for round dances, or other types of cer- The wood is usually from a cedar, or other type of but hand drum songs can be sung in a group, with emonies, like the Prairie Chicken Dance . This is a tree. The hides of the hand drums are mostly from deer hide, but some are made with beaver pelts . dance that they sing all night long. It is held in the Hand drum frames use the wood from the black springtime, and is something Saskatchewan and Alberta . they do in both The powwow drum is bigger. It sits near to the ground, and can have as many drummers fit around it . Sometimes poplar tree. Some people paint their drums for different reasons, sometimes for decoration, or they may have had a dream about it. (continuedon page I 0) as can it could fit up to fifteen drummers . POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE" SASKATCHEWAN �New Releases Sweetgrass Freedom Grey Eagle Blue Moon of Kehewin Little Axe Live at Beardy Little ls/an Live at Beardy Little Island Cree For Old Timer Sake Zo tigh Singers Schemitz un Whitefish Jr 's A Way of Life Stoney Creek For the Love AECC>AC>S Coming Soon: The B est of Stoney Park The B est efR ed B ull Native American Music Award Nominess: H earts efthe Nation, R ed B ull - World H and D rum Champions, McGilvery and Green For more information or to order Phone (306) 343-7053 Fax (306) 343-5930 email info@sweetgrassrecords.com web www.sweetgrassrecords .com Write Box 23022 Saskatoon , SK. S7J 5H3 continued from page 9 C<>.,,.,._~ Ck There are two types of songs, Traditional and contemporary songs. Traditional songs do not have words ; they are chants, or melodies. Contemporary songs have words . As a matter of fact, I was one of the first in this area to make a song in Cree , because tra ditionally , the Cree people didn 't have word songs . Only the Dakota , Blackfeet , and other tribes had word songs. I liked the way they would sing these songs, so I decided to make a word song in Cree . A few years later , other Cree groups started to make their own word songs . This all began around 1984, in Saskatchewan . Now we have contemporary songs for Honou r songs , Intertribals ... we have all types of contemporary songs . My first song was about dancers and dancing, having a good time together. A Cree verse IO SASKATCHEWAN • i .A.. "THEHEARTBEATOF OUR PEOPLE " POWWOW ISSUE1999 �from one of my songs translated to English , would say something like this , ..."All you dancers come in and join . Come and dance togeth er. Come and enjoy this celebration with us .... " An honour song is to recognize , ~ and respect someone . All should stand when there is an honour song . At Grand Entry, an honour song is the first song that begins the powwow. The Eagle Staff and flags are brought in at this time, and it is usually carried by our veterans . A flag song follows this . A verse from a flag song Red Bull sings , is about the flag, (Union Jack), that the Queen gave our people, and this flag will always be Topphoto:Grand Entry at Wanuskewin,Bottom:Darwin with us - flying high . Achuyum, Men'sTraditonal · · A 100% INDIAN- OWNED BRO KE RAGE COMPAN Y IN OPERATION SINC E 1987 "EM PLO YEE BENEFI TS PROGRAMS " *Group Life & Health Benefits* *Group Pension* *Employee & Family Ass istance Program * 1-800-667-4 712 76 3-471 2 Fax: (306) 763- 3255 FIRSTN 'TJQNSPhon e: (306) 2300 - 10th Ave. W., Prince Alb ert SK A l"1. INSURANCE SE RVICES LTD· Maj ling Add ress: P.O . 2377 , Prin ce Albert, SK S6V 6Zl E-M ail addr ess: first.nations@ k .sympatico.ca Website: www.firstnation sins.co m POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE" Veteran songs are for the veterans who went to war, to acknowledge the ones who didn't come back . We remember them, and honour them with veteran memorial songs. Victory songs are for all the veterans. We recognize these veterans who won the wars. It is because of them, we are free here today. Sometimes we are asked to sing an honour song when a person has a give-away, like a memorial give-away . A memorial giveaway is for someone that a family has lost. So we sing for their loved one that has passed on. Some parents will host a giveaway when their child enters the powwow circle. They can enter the circle as a dancer or singer. This is a type of initiation, and we welcome them in by singing. We also sing honour songs for our elderly people . Round dances are for enjoyment, so some songs are comical. A round dance song can also be a love song. A good love song my dad made when he was young says, "Don 't you know I care for you a lot. You're my pretty little sweetheart. I love you, and nobody else in this world, hey ya, hey ya .". I call this my mother song. (continuedon page 16) SASKATCHEWAN Bi..A. II �s 1. Wanuskewin Traditional Powwow Saskatoo n, SK. May 29, 1999 Donni e peidel (306) 931-6767 A S - • - E W AN H A - 16. Carry the Kettle Powwow Cany the Kettle First ation, Sintaluta , SK. July 23-25, 1999 (306) 727-2135 17. Back to Batoche Days Bato che , SK. Jul y 23-25, 1999 (306) 445-6822 • UraniumCity 18. Saskatchewan Indian Cultural Centre Golf Tournament Moo n Lake, Saskatoo n , SK. Aug. 11, 1999 Eric Tang, (306) 244-1146 Fond-du-Lac • 3. 1999 Rene Worm Memorial Golf Tournament Whitebear Go lf Course, \'<7 hitebea r First Nation , Carlyle SK. Jun e 11-12, 1999 Earl Magnuson , (306) 222-4848, Lyle Wo rm , (306) 835-2125, Lo re tta Worm , (306) 835-2466, Lyle Daniel s, (306) 222-0272 //) ::·::: 19. Honouring Our Chiefs Past & Present Thund erchild First atio n , Turtl efo rd , SK. Aug. 12-15,199 (306) 845-4300 - 4. One Arrow First Nation Co-Ed Slo-Pitch Tournament One Arrow First 1ation , Bellevue , SK Jun e 12-13, 1999 La ny Richa rd Danie ls, (306) 423-5482 5. 10th Annual Whitecap Dakota First Nation Sports Days White cap Dakota First Na tio n, Sas katoon , SK Jun e 12-13, 1999 Frank Roya l, (306) 477-0908 7. Stella Arcand 3rd Annual Memorial Ball Tournament ~~~~ s~ :~~~:~~: ~~;ent re , C SUMMER EVENT CALENDAR - POWWOW ISSUE 1999 2. Muskeg Lake Cree Nation Veteran 's Memorial 6th Annual Traditional Powwow Muskeg Lake Cree Nation , Marce lin , SK. Jun e 11-13, 1999 Na ta lie Keewa tin (306) 466-4959 6. Yorkton Tribal Council's 9th Annual Friendly Golf Tournament York Lake Go lf & Count1y Club , Yorkton , SK Jun e 18, 1999 Danny Wh itehawk , Shery l Cote, (306) 782-3644 K AT 20. Standing Buffalo Powwow Stand ing Buffalo First Nation , Fort Qu 'Appe lle, SK. Aug. 14-15, 1999 (306) 332-4685 21. Saskatchewan Indian Summer Games , "Celebrating 25th Anniversary " Big Rive r First ation, Debden , SK. Aug. 15-19, 1999 Dere k Klein , (306) 724-4700 22. Beardy 's & Okemasis Powwow Du ck Lake , SK. Aug. 20-22, 1999 (306) 467-4523 Southend Dillon • 23. Piapot First Nation Powwow Piapot First Nation , Crave n , SK. Aug. 20-22, 1999 (306) 781-4848 24. Crooked Lake Agency Powwow , Hosted by Sakimay , Cowessess, ~ah:1<,~~i.:'tahaw and Ochapowace �Ju~~~ Y§'. ·1~B~ JL e.:)1\. . "P1-r4,;f-N~t-1....,.,.,~ Kahk ew israhaw First ation, Broadview , SK. Aug. 20-22, 1999 Rook Sparvier, (306) 696-3506 , Collee n Bob, (306) 696-358 1, Albert Isaac, (306) 696-2425 Vera Poitras, (306) 334-3512, Cathy Stevenson, (306) 332-2846 8. Cle arwater Treatment Centre Powwow La Loche, K. Jun e 21-23, 1999 (306) 822-2021 25. Dakota Cree Days Whitecap Dak ota port Grounds , Saskatoon, SK. Aug. 21-22, 1999 Frank Royal, (306) 477-0908 9. Fran Thomas Memorial "Open " Fastball Tournament Wh iteca p Dakota Spo rt Gro und s, Saskatoon, SK Jun e 19-20, 1999 Chuck Thomas, (306) 229-9790 26. Treaty Six Forum Jo seph Bighe ad First ation, Pierce land , SK. Aug. 24-26, 1999 Eric Lang , (306) 839-2343 10. Bobby Bird Memorial Golf Tournament Jac kfish Lodg e & Conference Centre , Cochin , SK. Jun e 19 -20, 1999 Roge r Bird, (306) 663-5349, Cheryl Maurice, (306) 953-7200 27. Yorkton Tribal Council 's Tex as Scramble York Lake Go lf & Country Club , Yorkto n, SK. Aug. 26, 1999 Dann y Wh itehaw k, Shery le Cote (306) 782-3644 11. 1999 Saskatchewan Indian Summer Games Fundraising Golf Tournament Jackfish Lodge & Conference Centre , Cochin , SK. Jun e 24, 1999 Derek Klein, Hickso n Weenie , (306) 724-4700 28 . Touchwood Agency Tribal Council Powwow Kawa catoo se First ation , Raymore , SK. Aug. 27-29, 1999 (306) 835-2125 12. Piapot Texas Scramble & Golf Tournament Kinookimaw Beac h Go lf Course, Regina Beac h , SK. June 26, 1999 Judy or Donna , (306) 781-4833 29. Western Canadian Slo-Pitch Championships Wh iteca p Dakota Sport Grounds, Saskatoon, SK Sept. 3-6, 1999 Frank Royal, (306) 477-0908 13. Saskatchewan Indian Women 's Fastball Championships Hosted by Kawakatoose Ladies Whitecap Dako ta Sport Gro unds, Saskatoo n, SK Ju ly 30 -Aug. 1, 1999 Gera ld ine Worm , Da rlene Longneck , (306) 382-1383 30. Metis Fall Festival Cultural Event Prince Albert , SK. Sept. 3-5, 1999 (306) 763-6339 14 . Whitebear First Nation Powwow Whitebea r First ation, Carlyle , SK. Ju ly 9-11, 1999 (306) 577-2064 31. Saskatchewan Indian Federated College Alumni 2nd Annual Golf Tournament Emera ld Park Golf Course , Regina , SK. Sept. 10, 1999 Milton Tootoosi , (306) 665-1215, Kathleen Robinson , (306) 779-6287 15. Onion Lake First Nation Powwow Onion Lake, SK./ AB. J uly 16-18, 1999 (306) 344-2330 32 . 1999 Treaty Four Gathering Fort Qu'Appe lle, SK. Sept . 13-19, 1999 (306) 332-1874 or (306) 332-8248 ;//1/'l rfjna'ry casino Bear Claw Casino Gold Eagle Casino Northern Lights Casino Painted Hand Casino Whitebear , Saskatchewan North Battleford, Saskatchewan Prince Albert , Saskatchewan Yorkton, Saskatchewan �By Pat Deiter This is a very old dance still practiced by our people who live in the Battleford area. The ceremony is held in a long lodge, and begins with a special form of prayer known as the Pipe Ceremony . Following the ceremony, the man who pledges the dance, begins by singing his songs to the accompaniment of a rattle, while the others follow his lead. The dance is considered to have a strong spiritual meaning. The sponsor of the ceremony may have received instructions to do so in a dream , or he may have vowed to hold the dance, in exchange for the long life of a sick child. Dancers take their place in a circle formed around two fires . They move slowly around the circle , while mimicking the actions of a prairie chicken . Throughout the night , other men serve each guest. The men who have never taken part before , are required to give gifts. This is practiced in all social dances to obtain the right to par- ticipate, but this is the only vowed ceremony where gifts are given in such a manner. These gifts are given to elders, who in turn, give prayers for the dancers . An offering to the spirits is also given, and is tied to the poles of the lodge. The dancers observed at Frog Lake in 1928, danced stationary , and danced at night . They had a dog feast afterwards . The Cree from Hobbema, Alberta, also prac ticed this dance. The ceremony varies only slightly from the Battleford dance, but their regalia are unique . David Mandelbaum reported the Hobbema people wearing a fringed leather shirt and an eagle cap , which was passed to each dancer, as his turn to dance came up. The singers were accompanied by a hand drum, beaten in a lively rhythm . Our people wear their common ceremonial dance attire, and a bustle of prairie chicken feathers . 1~ ~ from , Dancer of the Northern Plains , Pleased to be the official travel agency for F.S.I.N. Meadow Lake 236-5145 Prince Albert 763-8412 North Battleford 445-7293 Rosetown 882-2641 Saskatoon 652-1272 Regina 584-9220 Serving Saskatchewan's travellers for 40 years! Saskatchewan IndianCulturalCentre, 1987 Availableat Participating Saskatoon McDonald's ® Locations ©1999, McDonald's Restaurants of CanadaLimited. Forthe exclusive use of McDonald's Restaurants of CanadaLimitedandits franchisee s. At partl cipatin "THEHEARTBEATOF OUR PEOPLE " POWWOW ISSUE1999 �in my lifetime, a lot I would guess. One of my outfits she made, we sold it to the museum in Regina for $3,000.00. I don't know what they did with it. I heard they had a sale one time. Maybe they sold it to someone in Germany , or something like that. My Dad 's name was Ceepeekous. Them days, they only had one name. Ceepeekous means dusty thunder. How I learned my Chicken Dance, my dad showed me. He was the one who gave me my start. He used to make me dance pretty near every second night, like it or not. In fact , he was my teacher . When I was six years old, I joined my first powwow . Them days, you had to pay quite a bit. continuedfrompage7 You had to donate a lot of stuff (give-away ceremony), in order to join. I remember that night when we went to the powwow , they dressed me up . My mom made my outfit . My parents donated all their things. We had nothing left when we got home. They even gave away the horse and cow . But I can see today, we pretty well got all that back, and more than what we gave away . The Prairie Chicken Dancers' outfits are all different. On my outfit, I have chicken feathers all over , and some beadwork. I got a bustle on mine. I don 't have a special colour , just whatever I want. People from the States recognize me as a Prairie Chicken Dancer right away. Most times, you see guys wearing yarn or bells around their ankles, just like the prairie chicken . Those prairie chickens have a little fur around their feet. When I first joined Grass Dance, everybody had beadwork, straps or circles, and some feathers. There was no yarn, or anything like that , straight beadwork. Today , my wife, Stella, makes my outfits . I don't know how many pairs of moccasins I went through POWWOW ISSUE1999 (continuedon page 17) L ~ R: ~MindyGoforth,JingleDressDancer, -Ron Achuyum, PrairieChicken Dancer ~WendalStarr, Men'sTraditional "THEHEARTBEATOF OUR PEOPLE" SASKATCHEWAN ■l'l\lliti• 15 �continuedfrom page 11 A Lawyer, A PowwowDancer - Dean Head (continuedfrom page 8) My niece, Waskewitch, started Delia Bull- to sing with us when she was nineteen. She travels and sings with the group. She enjoys singing, and when she late Archie Waditaka of Wahpeton First Nation. Bob Boyer of Regina,' _who was head of the Indian Art department, and a longtime traditional dancer himself, helped Dean assemble his regalia and go through the appropriate process. "Bob helped me in so many ways, that even to attempt to list them would feel disrespectful. He was, and still is, more than a friend, fellow dancer, and fellow artist. He's like my big brother, he's my friend. It was Bob and Wayne Goodwill who brought me into the circle so many years go." His grandmother selected his colors and designs of his traditional dance outfit . Women from his side of the family and his wife's side of the family, all had a hand in the hundreds of hours it took to put all the beaded pieces together. When he wears his outfit, and the sun sparkles off the thousands of turquoise sky blue beads, Dean feels honored to dance for them . When asked what he thinks about when he is dancing, Dean replies, "There are a number of thoughts that continually run through my mind, not so much in terms of words or even pictures, but rather in terms of feelings and presence . I feel a great privilege to be there . The music truly does flow through you, the earth, and the air. At times, it's very much 16 SASKATCHEWAN llliilHH.&aa like praying in movement and giving thanks that our peoples are here, and at this moment, we are healthy and happy. No politics of who or who is not an Indian and what that means, just our Peoples dancing and celebrating our peace and our gifts. There's nothing like it." Dean concludes by remarking that he always has the sense that when he is dancing at a powwow, "There are others who may be watching me dance, just as I watched years ago, wishing they could be out here on the floor. I can't help but be grateful that an opportunity was opened for me, and maybe I'll be able to help that person in some way." Dean is happy to have added a new son to his family this year, and he is currently finishing writing his bar exams. When he's not practicing law with Pearson Rask Law Firm in Saskatoon this summer, he'll finally be back out on the powwow trail, now that the long years of legal study are finished. sings, she prays for all the People . Delia has a beautiful voice, and inspires many women to start singing. Women will stand behind the drum as a support. Women singers start to sing when the men start to sing low. Their voices harmonize with the men. (continuedon page25) Aho! ~ ·~ Raven Wabash, Fancy Shawl Dancer "THEHEARTBEATOF OUR PEOPLE" POWWOW ISSUE1999 �continuedfrom page 15 J :lxui 't ('10-W-cll(llflclle (nettL In 1928, I was taken to school at Muskowekwan Boarding School. I had a pretty rough time when I first went to the mission . I didn't understand English . My mom and dad didn't go to school, so they didn't talk English either. I had to start right from the bottom . By the time I left school in 1936, I still didn't know how to tell time . Out of eight years being there, I was promoted to grade seven, and I didn't even learn that. Half the time, we were put to work hauling this and that, milking the cows, looking after the horses and pigs. At school, I took sick, I caught whooping cough . I was really sick. I couldn't stop coughing, and I couldn 't eat. If I took medi~ cine or water, I would throw it up right away . Then I got really hungry one supper time. I went to try and eat . They served us soup in a plate . The first mouthful, I threw it up, right in my plate . I seen a Sister coming over to me. I thought she was going to help me . She slapped Partnering Aboriginal LaughingHorse,Mens Traditional me twice in the head, and pulled me by the ear to another table, and made me face the girls . She treated me like I killed someone . Then she brought my plate over, and told me to eat. I didn 't eat it . I didn't come back at the next meal time. I don't know how my Dad knew . He got there on horse~ back. He was camping out in Touchwood, a little station near Punnichy . He came and got me. He said, 'I'll take you home.' I don't know what the principal told him, but he brought me home. Now I believe in Indian medicine, because I don't know long I was sick. He brought his medicine bag in, and boiled some herbs . He told me to drink it. I said , 'I can't drink it. Just drink a little, don't take too much,' he said . I was scared that I would throw it up again, but it stayed down. Then, again before I went to bed, I had some more. Next morning, it was a nice morn~ ing . The sun was shining, and the day was bright. I was so hungry . I told my mom, and she made me something to eat. I finally ate . My Dad cured me. There were doctors around at that time. I don 't know why they didn 't just take me . They were supposed to be Catholics, working for God. I don't think they worked for God at all. (continuedon page 19) With Communities SaskTeland its Aboriginal CustomerServicesteamare proud to workwithFirstNationsand Metispeoplein Saskatchewan. Together thelivesofAboriginal people 1we'reimproving throughaccessto bettercommunications, training, and job opportunities. Shaping dreams ... sharing solutions. POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE" 17 �CHASINGDOWNA DREAM By Mervin Brass REGINA - Helen Sunshine is living out a dream. She sits over her homemade beading loom, concentrating intently on her craft. The member of the Gordon First Nation is making a belt, and says this type of beadwork is simple, and not complicated. Helen carefully threads the b righ ti y-col o u red beads on the loom, admitting the hardest part is figuring out the pattern. "But it all comes together. I do a lot of beadwork . I'm a selftaught beader," she says between stringing a row of beads . "My grandmother used to do it, but no one else in my family does it." As a child, she would dream about being a powwow dancer, but her stepfather forbade Helen and her siblings from practicing their First Nation culture. Many years later, Helen took it upon herself to learn more about the culture, and the art of beading . One day she went to the library, on a quest for knowledge about constructing a beading loom. "I thought, 'Oh my God,' why couldn't I have done this myself," she says, realizing how simple it is to build a loom. Once she built the loom, Helen began beading, and soon discovered a natural ability for the craft. Helen says someday she hopes to pass the needle and thread to her powwow-dancing daughter, Lisa-Marie. "A lot of our young people are losing the culture," Helen says. "I think it's up to us to try and bring it back ." Lisa-Marie says in her vIsIon, she wore a pink jingle dress. When she woke, Lisa-Marie told her mother about the dream. Both Sunshine women went to an elder for advice . "The elder advised me that (dancing) was my calling," says the younger Sunshine. Once Lisa-Marie resumed her dancing, Helen tackled "A lot of our young peopleare losing the culture, I think it's up to us to try and bring it back." 18 SASKATCHEWAN ■ ■All _ Helen Sunshine another artistic challenge. "I wanted a certain type of dress," Lisa-Marie says, telling the story about how her mother got into making dresses. "And my mom does all my beading too. She does everything." "I make all of my daughter's jingledress dancing outfits," says Mom proudly. "It's fairly expensive to make one ." But it's a small price to pay, considering that Lisa-Marie is much happier tak"My mom won't always be here," ing part in powwows. says the 21-year-old Lisa-Marie "I like the feeling, the people Sunshine, Helen's youngest child. watching, everything about it," "l want to learn. I think it's impor- says the young jingle dress dancer. tant that I do it." Part of bringing "I get really pumped." "I go to back some of the culture, is taking powwows just to dance for myself," part in powwows, Helen says. she says. "I'm not worried about She says her daughter began competing." dancing when she was eight years So if you happen to be at a powold, but lost interest during her wow this summer, Lisa-Marie will high-school years. "I guess be the jingle-dress dancer, wearbecause of other things, I lost track ing one of two outfits, either a teal of the Indian way," says Lisa-Marie. and white dress, with purple rib"I never had any native friends ." bon, or a burgundy and black But one night, Lisa-Marie also had dress, with white beaded a dream, Helen says. In that moccasins. ~ ~ dream, Lisa was dancing p owwow. "THEHEARTBEATOF OUR PEOPLE" POWWOW ISSUE1999 �his songs.' Then he said , 'Well, you better give them to me . Make a tape for me, I'll learn them.' He asked me, just like that. He didn't One time, I was asked to say a give nothing, not even tobacco . prayer after Grand Entry . But I told Anyway, I taped them, and gave him, 'It is not my way to say a them to him . He took the tape, but prayer. ' My old dad used to say, still, he never gave me nothing . I 'Don't take anything that doesn't don't even think he had the tape belong to you, unless it is given to one night, and he lost it. I guess you. Then you can go ahead and those songs weren't meant for him . do it. Don 't do what other people do.' So I listened to him. That 's why I don't say I am a preacher, or My dad used to have a Prairie traditional. I can hardly pray for Chicken Dance song . This was a myself . My Dad used to give me a real old song from the twenties. In lot of warnings about things . Even today, I know there is get- this song, there is no double beat , ting to be a lot of Indian doctors . it is just a straight single beat. My dad dreamt about this song, so it My Dad had two bags of medicine. was his own . He used to make me I didn't learn anything about them, or what was in there. He even had dance to it. He then passed the Rain Dance songs . These are song on to me. This is the only continued from page 17 sacred songs . He never told me , 'You can have them' . He didn't teach me his Rain Dance songs . But after he died, his songs came to me in my dreams. One by one, I dreamt about them . Now I know all his songs . Because I heard his songs in my dreams, it means I can have them . I have the right to pass them on to who I want to. One time, someone asked me if I knew my deceased Dad's Rain Dance songs . I said, 'Yeah, I know POWWOW ISSUE1999 song he gave me, when he was alive . I gave that song to a young guy from Sakimay (First Nation) . He used to honour me when he would see me . He would come over and give me something, a blanket, or tobacco. Well, I started thinking this was great for someone to treat me that way. So I figured I would give him this song. I taped the song for him . He is young, and he could carry it on. Now this young guy handed the tape over to the Broadview singers. The Broadview singers sang that song at their powwow last year, in Ochapowace . The Broadview singers got it right on. They never missed a beat. l was there, they invited me to dance . When the Broadview singers sang my Prairie Chicken Dance song, they told the people , 'No taping.' A young guy tried to tape the song . He came to me after and said, 'I taped that song, but I lost it .' I said, 'You heard what they said, you 're not sup posed to tape . That 's why you lost it .' Long ago, judges used to pick according to timing . They would go by the sound of the bells and drum beat. A dancer would have to keep time with the beat of the drum . You couldn't go out of time. Those judges would know if you did . Now today , I see dancers in a contest , getting fancier and fancier. They bounce here and there. They go way down to the ground, and then they get up again. They don 't listen to the beat. Their timing is off. As long as they are jumping around, the judges will (continuedon page 22) "THEHEARTBEATOF OUR PEOPLE " SASKATCHEWAN i i!IDIA II 19 �he main reason Crooked Lake Agency drum group receives so many invitations to host powwows, grand openings, and international events, is not because of their high-pitched, high--powered voic-es, or fancy, faddish word songs. It is because of their good old--style sound, and steady beat! T Crooked Lake Agency is carrying on a style learned from their predecessors amongst the reserves that made up the agency during the early I 900's. The reserves are situated near Broadview in southeast Saskatchewan - Sakimay, Cowessess (Ouewezance), Kahkewistahaw and Ochapowace (Kakisheway, Chacachas) . It is from the Agency period that the group takes its name . Although each reserve was autonomous, they were united into one agency. each of the four bands . This is probably the first documented Crooked Lake Agency powwow. Edmund Morris sketched and photographed some of his famous collection during this gathering, including Man Standing Above Ground - Acoose (Sakimay), Nepahpenais Nightbird intact during this period, by being very private about their events. By the late I 960's, with no more oppressive pass system to stop travel, the Crooked Lake agency bands began traveling to cultural events across the valley again . Starblanket, Peepeekisis, Standing Buffalo, Sioux Valley, Back Row L - R: Terry Bob, Albert IsaacJr. Bob Natewa, Calvin IsaacSr., Bernard Bob, Trevor Ewack, Charles BuffalocalfJr., Percy Isaac,RookSparvier Front Row L - R: Eric Redwood,J.R. McArthur, JasonSparvier, Shaun Buffalocalf ~ THE HISTORY OF CROOKED LAKE AGENCY SINGER by Erroll Kinistino Shortly after the agency was formed, the, "Indian Agents", tried to stop the Indians traveling from one traditional ceremonial ground to another. They developed a pass system, to stop Indian people from attending annual events on each other's reserve. In about 1910, famed artist, Edward Morris, got special permission allowing the four bands to have a powwow. He was the youngest son of the Honourable Alexander Morris , chief commissioner for the negotiation of the treaties. During this special powwow, a pole and cloth were raised for 20 SASKATCHEWAN i-BIAII\I (Cowessess), Walter Ochapowace (Ochapowace). After this project was complete, the agents once again enforced the Indian Act. The Act outlawed attendance at powwows, or other ceremonies. Anyone caught, could be imprisoned and fined. Residential schools at Marieval and Round Lake, were constructed to educate Indian students in the dominant white society's values . Quite often, this meant students were turned away from their Cree, Saulteaux language and values . Traditional elders and spiritual leaders endeavored to keep some of the ceremonies and language "THEHEARTBEATOF OUR PEOPLE" Whitebear, and as far away as Crow Agency, Bismarck, Rocky Boy, or Poplar, Montana . Cowessess also revived and hosted the Crooked Lake Agency powwow during the I 960's, until about 1971. Little Edward Lerat says he and his sons, Alex, Dennis, Fenton , and Carlos, had a group that became known as the "Broadview Singers". Lerat says when they would practice some evenings , they would attract one of their neigh bors from across the road . Lionel Sparvier was probably a young teenager then. He learnt to sing (continued on page 25) POWWOW ISSUE1999 �Originalfy, A Brave SQC\ety, or an individual family qrganlzed the dances and cetemonies. Committees indudect a dance chiet criers, ~tve and others with spetjftcally assigned duties: The dance chief o the held m ch the 0.te position as the modern celebration's grouP. p;re jdent. He acted as director for the various activities at the celebration. The crier acted as the master of ceremonies. Like our contepiporary ann ncer, e canducted the Give,..awa,1s,and related the dail events. He was usually an outgoing, witty man, wen known to the comm ni . He would walk about the camp, sltoutin ·g his mes age, and announcing and beck,.. oning t6.e dancers to the dance are". The whip owner was designatetl by the elders' blessing to carcy on the duties of a whip owner. 'they ~aTrie thM1" or amented whip, as they called the dan ers to partici ate. If a dancer refused to da.nce, he whip keeper- would exact a penalty, often part of his costume. This p actice varies, however, as Alex Bonaise remembers. "When urging ...,a dancer to dance, lie would touch them lightly. If the dancer did not dance after being touched four times, the whip man would have · to make a,, donation. It was also . andatory that the daneer gets up and tells why e didn't dan ·ce, and he had to give som~thing to the whip man. So It -was just as great a hardship _· for the whip man, as it wS fot: t t:4l~cett :· monies. It is a radition to feed visitors. Not only is this done in Individual homes, but at the gathering, as well. Most rituals included a feast. In times past, on y the visitors were given rations. Todcly, daily rations of food are given to eac odge in the ca p. • At one time, each committee member was hon,.. oured with his own song, at each dance. Their positions were life long, b·ut the rights could be t ansferable. In a simpfe induction ceremony, the hew official was bestowed by his predecessor, with gifts of value appropriate in the traditional way. Today, our Dance Committee members are elected, or appointed to office. They usually da~ce .together to an honoUf so,ng, held early in the ' celebratio _n. ~ . from , Dancer of the Northern Plains , Saskatcne ·wan·1ndianCult ralCentre, 1987 �continuedfrom page I 9 look at them. Then the judges, they have to pick a winner . They all look the same . Most of the time, the good dancers who dance in time , are not picked. I never seen that kind of dancing, in my days. Maybe it is getting better, I don 't know. But half the time, I don 't know what the heck is going on. Contests started pretty far back. I remember the prize money was pretty small then . At Carry the Kettle powwow in the '40's, I won three dollars for placing. This was the first time I won. Now today, the prize money can be a lot. But you really have to be lucky. It is the big money that draws the people out to their powwow. When the big champions like myself, (laughs), hear of big money, we will go there and try for it. But you never can depend on winning. At least, I don 't expect to win. As long as I can make just a little to help me out, it is good . I have earned quite a bit of money over the years. I made over six to seven thousand dollars one year . Now today , you can earn that kind of money at just one powwow . This year , I don 't know how much I will dance . I have to go through a small surgery. I'm not sick, but it will lay me up for a while. Maybe it is from too much jumping around , too! When I go to powwow, I try my best. I get up on the first beat of the drum , and dance all night long. I go to a powwow to dance , not to sit around . No matter what powwow I am at, I want to make it lively . l like my dancing . Even sometimes at home, I take my tape recorder and practice for a long time. I think that is how a person builds up his name . He should try to do something good for others . Supposing the singers start singing, and nobody gets up . I get up to any song, because I like to dance. I don't like to watch . I don 't think I'm the best, but still, I dance anyway . The crowd doesn't affect me . I don 't look around to see who is watching me, or who is laughing at me! After dancing, I feel good. I feel light. I remember going to Saki may Powwow , when I was sick . I had a headache, and felt really bad. I thought I wouldn't been able to dance . That evening, I went into Grand Entry , and by the next day, I felt good. I have been all over dancing , pretty well. I been to the States , down to Alberta, Manitoba , but I stay mostly around here (Saskatchewan). I have won a lot of trophies. I have collected all my registration tags . I even have a whole pile of envelopes that the cheques were in , when I won . (continuedon page 27) Saskatchew an Indianis read by decision ma!'ers and consum ers alike. It is the perfect adverti sing m edium to deliver your message to th e First Nation s communi ty. For rates , publishing dates , mechanical requirem en ts, and circ ulation details cont act: DaleJohnson (306) 652-8557 o D e§n((J)rrni IPaintin g LtJ o lBol\(72'9 lBalcarres, srr Est. 1992 • • • • FULLY INSURED ANO LICENSED NEW HOUSING , ONE DAY QUALITY GUARANTEED ENVIRONMENTALLY FRIENDLY PAINTS • CMHC HOUSING EXPERIENCE Serving First Nation On I Off Reserve Residential and Commercial AIRLESS SPRAYING DRYWALLING FIRE DAMAGE REPAIRS GYPROC REPLACEMENT INTERIOR I EXTERIOR PAINTING MINOR CARPENTRY SPRAYTEX SUB- TRADE KNOWLEDGE WOOD STAINING INTERIOR I EXTERIOR Claude Desnomie Peepeekisis First Nation Phone: Cell Phone : Home Phone: Fax: George and Stella Ceepeekous dancing at SIFC Powwow SO JI O 0 306-334-2317 306-537-3540 306-332-6532 306-332 -6332 11ir§t <tll.tionO n eJ anJ OJP> e irat J "THEHEARTBEATOF OUR PEOPL E" POWWOW ISSUE1999 �askatchewan Indian Magazine would like to thank the Egadz Youth Centre for providing some of the artwork dis-played throughout this year's powwow issue. S Egadz is a youth centre, located in the heart of downtown Saskatoon. Egadz' mandate is to interaction that The operating is nonviolent." hours of the centre are Monday through Saturday, 9 the commitment to social Recreation, and Agency available. Various guest speakers The centre provides activities laundry Rooms, Violence, or the option to, "hang out." showers, facilities are also discuss a wide variety of topics, to such as, Back to School Program, aid in the positive Day and growth of the youth spending Support Parenting Outreach Program, Program, Program, & Teen Street Housing, Employment Referral & Advocacy Assistance in with Family and or lead at-risk lifestyles. environment, Awareness, tre, is a wide variety of activities, Assistance, hol and drug-free Alcohol & Presentation. -19 years of age), who engage in, an, "alco- Drug a.m. to 9 p.m. Offered at the cen- assist young people, (generally 12 Education This centre provides Cooking, Addiction Services, development time at Egadz. For further information about the centre, contact Egadz at 30 II st Avenue North, Saskatoon, SK. Phone (306) 931-6644. {~ order to Address Specific Issues & Needs of Youth, Infant/Toddler & Teen Clothing, Life Skills, PLANNINGA GOOD CELEBRATION By D. Tootoosis ~ "Since time immemorial, and now into the new millennium ... ladies and gentlemen, please rise in honour of the Grand Entry. Hutchaaaa! Host drum, SING!" Sound familiar? It's the signature sound of the Grand Entry. Anyone who has been to a powwow lately, can agree that when hearing this, there is a feeling of excitement in the air. For spectators, singers and dancers, this feeling is pure energy. It fills the air, and welcomes all to the powwow. This is the feeling every powwow committee longs for, in their celebration. Having said this, consider how much work goes into planning a powwow. It all begins with groups of people coming together in hopes of hosting a powwow. It usually takes a year or so in advance, to plan a good celebration. The first order of business is setting a date, and a site venue. First and foremost, one or more elders are approached by the committee, with an offering of tobacco. This is to ask for spiritual guidance from the elders. Their guidance will be (continuedon page 24) POWWOW ISSUE1999 "THEHEARTBEATOF OUR PEOPLE" 23 �continued from page 23 needed from the planning stage, through the duration of the event. As well, it is required that all committee members participate subsidiary of in all ceremonies relating to the Many Nationsr-if:fadlifHihff celebration. Once that is established, fund raising commences. Another crucial aspect is the announcement of the celebration. Initially, the committee can start off by word of mouth. Many committees will advertise with posters, flyers, • Employee Benefit Plans commercials, and possibly internet web sites. • Pension Plans and Pension Administration A good committee ensures the following; that there is a suitable • Individual Life and Disability Insurance amount of concessions to supply Products food and drinks, that there will be • Investment Services and security present throughout the Products powwow, a schedule is in place, • Pension and Benefit outlining the happenings each Management Seminars day, all powwow staff makes it to • Registered Education the powwow, and that the powSavings Plans wow's finances are secured. Most important, there must be Call Toll Free: suitable toilet facilities. I think 1-800-667- 7830 everyone who has been to a Fax: (306) 956-4664 powwow, knows what I'm talking www.manynations.com about! All this planning is still 300 Edson Street, prior to the celebration. Saskatoon SK S7 J 0P9 As the date approaches, people are appointed with duties to "The Strength of Many Nations oversee. Master of Ceremonies, protecting our future" the host drum, and arena staff "Owned by Aboriginal People" are in place. Invitations for special quests and drum groups are MANY NATIONS FINANCIAL SERVICES LTD. I ud.1 sent out. Then there are the lastminute, finishing touches to be added to the powwow site. The time has come, and the weather is good. There are many dancers, drum groups, and spectators arriving to participate. The site is organized, and all is well. We hear the first drum begin, breaking up conversations, turning heads, invoking an awe in the crowd. Singing follows this. The first Grand Entry has begun. The feeling I spoke of earlier, "The excitement," overwhelms one and all. As the weekend continues, each day gets better than the last. Then somewhere late into the evening, the powwow ends. People are packing up, and beginning to head off to the next powwow on the trail. They are leaving in a good way. Once the dust has settled, the committee knows all their hard work has paid off. For the committee, the satisfaction comes with knowledge that they accomplished their special goal. It was a good celebration. For they know in their hearts that they have done something very special, very spiritual for themselves. Now they can start thinking about next year. ~ ATTENTION SASKATCHEWAN VOLUNTEER ORGANIZATIONS NEED INTERNET ACCESS? NEED A COMPUTER? ARE FINANCES A BARRIER? YOU MAY QUALIFY FOR VOLNET SASKATCHEWAN'S INTERNET ACCESS PROGRAM APPLICATION DEADLINE AUGUST 16, 1999 FOR MORE INFORMATION CALL TOLL FREE 1-877-661-6677 OR VISIT www.gpfn.sk.ca/volnet 24 SASKATCHEWAN i illi.A.11 "THEHEARTBEATOF OUR PEOPLE " POWWOW ISSUE1999 �continued from page 16 9-t i~ :#E?E?li~g only pass on the whistle to someone who will honour and respect that whistle, and carry on the special significance of the whistle . When an eagle whistler blows on a drum, it means that the eagle whistler is moved by, or really loves that song . Sometime an eagle whistler will be asked by someone to blow his whistle on a drum. When someone requests this, it could be for a family member to get well. Then it is done for healing. When a whistle is blown on a drum, that song will go on for four starts. It is a good feeling for the drum group, when this happens to them . ~ c:.. g<><>d ••• Whistle blowing is adopted from the States again. The Dakota people call them eagle whistlers . Eagle whistlers are traditional men who went through a special ceremony. They are then given the passage to carry these whistles . Usually another carrier passes on these whistles. The original carrier, whistle man, will The Historyof CrookedLake AgencySingers (continuedfrompage20) and drum with them. Lerat says he was lucky enough to learn from his uncles, Emmanuel and Alphonse Lerat. He was about eight years old when he heard his uncles' song on a drum make from horsehide . When the powwow ended at Cowessess, Lerat says some of his sons joined up with the Kahkewistahaw drummers, whose members included Bernard Bob, Clifford Taypotat, (Indian), Isidore Smoke, and Donald Assiniboine . Today this group has become known as the Crooked Lake Agency Singers . The group consists of Lionel Sparvier, Bernard Bob Albert Isaac Jr., Percy Isaac, Calvin Isaac, Terry Bob, Charlie Buffalocalf, Shawn Buffalocalf, Jason Sparvier, Trevor Ewock, and Junior Mccarther. Crooked Lake's Drum Keepers, Charlie Buffalocalf and Bernard Bob, both live on Kahkewistahaw. The group spokesman, Lionel Sparvier, says the drum has led them to many places, like Estonia, Russia, Northern United States, Arizona, New Mexico, Ontario, Manitoba and Alberta. Sparvier says they've recorded two albums. The first one entitled, "Old Style", is on the Saskatchewan Indian Cultural Centre label. The second one, "Good Old Days", is on the Sweetgrass Records label. He POWWOWISSUE1999 says they will be recording their third album at Whitebear powwow, July IO - 12, 1999, with Turtle Island Music. You can hear the Crooked Lake Agency Singers live this summer, on the powwow trail, at their powwow to be held on Kahkewistahaw First Nation, August 20 - 22, 1999. For further information about the drum group, or the powwow, contact Lionel Sparvier at the Yorkton Tribal Council (306) 786-7888 Ekosi .;~ ~~ "THEHEARTBEATOF OUR PEOPLE" SASKATCHEWAN ■ Di.A. 25 �ABORIGINAL ARTSGALLERY SASKATCHEWAN The site is remarkable for displaying the cr.eativity of Saskatchewan's Aboriginal Artist. Also included on the site, is some biographical information about the Artist and their works . The second phase of the project will focus on, "on-line purchasing", of the artwork. However, currently there is contact information on each artist. Some of the individual artists have, "links", to their own web sites. Production of site is made possible through Industry Canada's Aboriginal Digital Collections pilot program. To view the site , it can be found at http://www .sicc.sk.ca/native_arts/ '° L -R: SICC's President LindaPelly-Landrie, DirectorLibrary,JimBruce SASKATCHEWAN Saskatchewan Indian Cultural Centre (SJCC) is creating a new market for Aboriginal artists Aboriginal Arts Gallery Saskatchewan On June 21, 1999, Saskatchewan Indian Cultural Centre, (SICC), held the official launch of their Aboriginal Arts Gallery Saskatchewan . Guest Speaker included the Chairman of the SICC Board of Governors, SICC President, Linda Pelly-Landrie, City Councillor, Rick Steernberg and Deb Hog of Industry Canada . The SICC's Aboriginal Arts Gallery Saskatchewan site contains Aboriginal art and crafts produced by Saskatchewan's Aboriginal people . On the site, they have included a wide range of media, from sculpture to moccasins . The completed site features over 600 pieces from over 150 Artists. The SICC Library Department designed the site to be utilized as a marketing tool. However, many of the actual items shown are not for sale. These are examples of their artistic abilities . I 111 8 I A Ill is inviting stories , photographs , arwork and letters from our readers . If you are interested , please forward your submission to : Saskatchewan Indian Federation of Saskatchewan Indian Nation 200-10 3 A Packham Avenue Saskatoon, Saskatchewan S7N 4K4 Phone : (306) 665-1215 Fax: (306) 244-441 3 SASKATCHEWAN INDIAN FEDERATED COLLEGE The teach ing philosophy at SIFC reflects the First Nations ' values of sharing and learning . SIFC is open to all people . We offer degrees and certificates in: YOU MAY CONTACT US Business and Public Administ ration Dental Therapy English Environmental Health and Science Indian Communication Arts Indian Education Indian Fine Arts Indian Health Studies Indian Languages , Literatures & Lingu ist ics Indian Social Work Indian Studies Interdisciplinary Studies (Application deadlines: Fall 1999 - Apr 3/99 & Winter 2000 - Nov. 15/99) Science (Mathematics , Natural Sciences. Computer Science& Health Pre-Profess,onalProgrammes) Application Deadhnes(unless otheiw1sestated): Fall 1999 - Aug.13/99 & Winter 2000 - Dec. 15/99 26 SASKATCHEWAN "THEHEARTBEATOF OUR PEOPLE" AT THIS ADDRESS: Saskatchewan Indian Federated College Room 118 College West , University of Regina Regina , Saskatchewan Canada S4S 0A2 Telephone (306) 584-8333 Facsimile (306) 584-0955 www.sifc.edu POWWOW ISSUE1999 �continued from page 22 My favorite memory of powwow would have to be Ocean Man Powwow, the biggest win, I guess! 1 came home with $3, I 00.00. They had a big contest, and I won on the Grass Dance Competition . My wife, Stella, won too. I'm never afraid to dance . If I am asked to do an exhibition , I go. I step up. Sometimes when lam at a powwow, they give me the eagle staff to bring in at the Grand Entry. That's a big honour to me . This year at Kahkewistahaw powwow, they have invited me for an honorarium. They are planning to have a Prairie Chicken Dance contest. This is another honour for me . I worked hard to bring up my kids. Me and my wife used to make fence posts . If we were not at a powwow, we were in the bush chopping pickets . She and worked hard, because there was no family allowance , or welfare to depend on. We had to look after ourselves, and our family . We earned a pretty good living . Even now , I still get up in the morning , make breakfast , and start working. I don 't sit around. We got married in l 941. That was fifty-seven years ago. My wife , Stella, was originally from Kinistin. i POWWOW ISSUE1999 We are happy ; we get along pretty good . We argue once in a while , but that don 't last. In the I 940's, it was strict them days . You had to get married by the Church, or don 't get married at all. Marriage was a good thing for me . We have seven children , and a bunch of grandchil dren, and even great grandchil dren . I have even lost count of all of them today . I drank for a few years , maybe one or two . She quit, I tried to carry on . Then I started to think of my family . I knew I was making a big mistake . So I finally quit. My family was worth it . That was the end of my drinking. I never think of drinking, even when it is offered . In fact , I can't remember what a beer tastes like. baby. I look back at my life, and see that his prayers did work. There has been good things, and some bad things that happened in my life. But a person should be glad if he lived a long life . lam. ~ Before I had kids, I would go and help this old man from around here. I would go and take a load of wood to him. He would come out and talk to The Creator for me . He 'd pray that l will have a long life. I would have a family, and see all my kids grown . He prayed for me to have a good life . He didn 't pay me money for the wood. That's all I got, was the praye r. Now today, l can see that I am getting my rewards. I had a long life , and we raised all but one "THEHEARTBEATOF OUR PEOPLE " SASKATCHEWAN 1Ml91A.MI 27 �GuidingYourTalent with Beliefs Profile of Tina Marie Arcand Entitled,"MedicineMan" Arcand is very interested in The cover art was provided by the artist, Tina Marie Arcand. maintaining her Cree identity. She Arcand is a member of the Muskeg is currently learning to speak the Lake First Nation. Today, Arcand language. Arcand is also reconlives in Saskatoon, Saskatchewan. necting with her roots in many Ever since elementary school, ways. She attends many cultural Arcand has been developing her events, and is training to be a powtalent. Arcand likes to use acrylics, wow and round-dance singer with oils, and oil pastels. Beads is the Sweetgrass Singer . another form of medium she likes Her art reflects a belief in her culture . "My culture is very much a to use. On the cover, Arcand's painting part of me," says Arcand. Arcand's work has a strong sense of cultural was inspired by her daughter, Maranda Shayne. Arcane would and spirit. One of her recent like to see her children follow thir pieces, "Young Lady with healing cultural and become active in the spirit and grandmother," explores powwow community. The rainbow the connecting power of the young in the painting is symbolic of her and old, resulting in healing. "I daughter Indian Name . This piece paint what I believe in," Arcand is owned by Chief Harry Lafond of adds . She also believes that the Muskeg Lake First Nation. Chief Creator has blessed her with her Lafond was gracious enough to talent, and gives thanks for that. loan it to Saskatchewan Indian. You can see more of Arcand's artwork on the internet. Arcand's art can be viewed at the Arcandcontributedthe artworkon Saskatchewan Indian Cultural the coverof SweetgrassSingernew Centre, (SICC), Aboriginal Arts Gallery, Saskatchewan web site. album The site can be found at http://www.sicc.sk.ca/native_arts/ Arcand can also be reached at (306) 683-3687. ~ 'o/~ Saskatchewan Indian Cultural Centre Corporate Scramble 1999 Wednesday, August 11th 12:00 Noon Shot Gun Start Moon Lake Golf Club Saskatoon, SK $500.00 Per Team (GST Included) Steak Supper Included Maximum 36 Teams First Come, First Serve Basis ... SO HURRY AND ENTER! Best Mixed Team Event Skins Game Long Drive Contest Closest to Pin Contact: Eric Tang, Belinda Daniels, Millie Goulet, or Janet Ahenakew 120 33rd St. E Saskatoon, SK S7K 0S2 Phone: (306) 244-1146 Fax: (306) 665-6520 Email: info@sicc.sk.ca 28 SASKATCHEWAN i II "THEHEARTBEATOF OUR PEOPLE" POWWOWISSUE1999 ��·p~,inrerl -~r~,nrl C' � 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. 29, no. 2 (Powwow Issue 1999) Subject The topic of the resource First Nations--Saskatchewan--Periodicals Description An account of the resource Contents: Edmund Bull Edmund Bull is from Little Pine First Nation and is well known across North American's powwow trail. Bull is the lead singer, manager, and drum keeper of the Red Bull Drum Group. By: Saskatchewan Indian Powwow Issue 1999 George Ceepeekous: Dancer By: Saskatchewan Indian Powwow Issue 1999 Northern Lights Dancers Maintain Culture Through Dance By: Darren Deschambeault Powwow Issue 1999 Piciciwin (The Moving Slowly, Or Round Dance) The Plains Cree received this dance from the Assiniboine, who called it the Moving Slowly Dance. A Cree gave this explanation of the dance to David Mandelbaum, an anthropologist. By: Saskatchewan Indian Powwow Issue 1999 A Lawyer, A Powwow Dancer - Dean Head By: Blanche Crowley-Head Powwow Issue 1999 Pihewisimowin (The Prairie Chicken Dance Ceremony) This is a very old dance still practiced by our people who live in the Battleford area. The ceremony is held in a long lodge, and begins with a special form of prayer known as the Pipe Ceremony. Following the ceremony, the man who pledges the dance, begins by singing his songs to the accompaniment of a rattle, while the others follow his lead. By: Pat Deiter Powwow Issue 1999 Chasing Down A Dream As a child, she would dream about being a powwow dancer, but her stepfather forbade Helen and her siblings from practicing their First Nation culture. Many years later, Helen took it upon herself to learn more about the culture, and the art of beading. By: Mervin Brass Powwow Issue 1999 The History Of Crooked Lake Agency Singer The main reason Crooked Lake Agency drum group receives so many invitations to host powwows, grand openings, and international events, is not because of their high pitched, high-powered voices, or fancy, faddish word songs. It is because of their good old-style sound, and steady beat! By: Erroll Kinistino Powwow Issue 1999 Dance Competitions Originally, A Brave Society, or an individual family organized the dances and ceremonies. Committees included a dance chief, criers, servers and others with specifically assigned duties. By: Pat Deiter Powwow Issue 1999 Planning A Good Celebration Anyone who has been to a powwow lately, can agree that when hearing this, there is a feeling of excitement in the air. For spectators, singers and dancers, this feeling is pure energy. It fills the air, and welcomes all to the powwow. This is the feeling every powwow committee longs for, in their celebration. Having said this, consider how much work goes into planning a powwow. By: D. Tootoosis Powwow Issue 1999 Aboriginal Arts Gallery Saskatchewan By: Saskatchewan Indian Powwow Issue 1999 Guiding Your Talent With Beliefs: Profile Of Tina Marie Arcand By: Saskatchewan Indian Powwow Issue 1999 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 1999 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Deschambeault, Darren Deiter, Pat Crowley-Head, Blanche Brass, Mervin Kinistino, Erroll Tootoosis, D. 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 1999 Art Powwows https://d1y502jg6fpugt.cloudfront.net/25945/archive/files/496713d8d43f92c92398082925622f22.pdf?Expires=1779926400&Signature=YIDuybH6a6U7EOAj2rAdhMAvBHHpXvHsb1y9HY2jj65i4TT484TxT5vClA6%7EW3fp3gWMyhLKSBGqxPVBpiwUhx9YCH3xsWvKFRxzFd1cz00CyaecNDloxBpWgAOlRWAEz9sBoDY0%7EcpepVNUiuYQhnFKCVmM0GqN0HxPzGVYuwiFU5j9O3Br1DL8EYYtmAuvQekcfLtd0ZdZ0NwLaCD0YP2JeVdjPr8glbfyAuDsKpmYK9sR7dUBg8R5w08H8Hz2XAUqwV8JD9Y9JuucRTBBf2M3utT0yakqHCGaazWYvZGwa2HLmFeEveRkz8YykBcgC-gE9TiidLjNRotQHQKdpA__&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... Scott CollegiateArt Students& LaddForgertyArt Instructor Paintingby Serena Alexson Paintingby Shirley Kramer Paintingby RaeleneLaplante Paintingby Dustin Anaskan "Ben;oe" Paintingby Tanya Lerat r-----------------------------------------------------------------------------------------, Before youdig therearetwolines youshould knowabout. At SaskEnergy, we're concerned about your safety. That's why if you're starting a building or renovation project that requires digging , there are two lines you should know about. The gas pipeline and the gas phone line. The buried pipeline provides natural gas for your home or building. The gas phone line is SaskEnergy's free line location service that sends a customer representative out to mark our lines so you can dig safely on your property, or someone else's. 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! Join us on FleetNet 800 and from as little as $25 per month each you can have Radiocommunications acrosstheprovinceofSaskatchewan at thepushofa button Do it with a mobile Do it with a portable THREE MONTHS FREE Arn TIME (Certain Conditions Apply ) ERICSSON i:: ERICSSON i:: Talk privately to a radio Talk to a group of radios Talk from Collins Bay to Estevan on your radio with no long distance charges Talk to other companies or individuals within the FleetN et system Make a phone call to anywhere in the world Receive a phone call from anyone in the world Send a fax or data Receive a fax or data Use it with GPS (global position system) Use it with AVL (automatic vehicle location) Keep in touch with your fleet Keep in touch with your employees Save time FleetNet BOO Talk to us! 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. 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 Pow-wow Seminar and Dances May 2, 1973 [Audio] Description An account of the resource Songs. Date A point or period of time associated with an event in the lifecycle of the resource 1973-05-02 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 00441 Subject The topic of the resource Powwows Powwows 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. 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 Pow-wow Dec. 15, 1973 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1973-12-15 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 00440 Subject The topic of the resource Powwows Powwows 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. 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 North Battleford Pow-wow 83-#4, Aug. 15, 1972 [Audio] Description An account of the resource Pow-wow songs and dances. Date A point or period of time associated with an event in the lifecycle of the resource 1972-08-15 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 00400 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant North Battleford (Sask.) Subject The topic of the resource Powwows Powwows 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. 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 North Battleford Pow-wow 83-#3, Aug. 13, 1972 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1972-08-13 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 00399 Subject The topic of the resource Powwows Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant North Battleford (Sask.) Powwows 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. Interviewee The person(s) being interviewed Voices of: Parker Singers- Montana, Mosquito, Red Pheasant. 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 North Battleford Pow-wow 83-#2 [Audio] Description An account of the resource Songs, dancers. Date A point or period of time associated with an event in the lifecycle of the resource n.d. 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 00398 Subject The topic of the resource Powwows Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant North Battleford (Sask.) Powwows 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. 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 North Battleford Pow-wow 83-#1 [Audio] Description An account of the resource Pow-wow songs and dances. Date A point or period of time associated with an event in the lifecycle of the resource n.d. Relation A related resource Saskatchewan Indigenous Cultural Centre Archives 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 00397 Subject The topic of the resource Powwows Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant North Battleford (Sask.) Powwows 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. Interviewee The person(s) being interviewed Voices of: Mike Bear, Big River, Daniel Ochapooways, Jim Pasim,Norman Frank, Pius Dustyhorn, John Cappo. Time Summary A summary of an interview given for different time stamps throughout the interview Ceremonies and offerings, (00:00-00:33) Powwows, the changing phases with contemporary society, sacredness is changing, drums, songs, dancers, Sundance, pipes, fasting, (00:33-01:01) Giving thanks, (00:00-00:08) Elder prayer, Traditional path of man, "Oskapewis" role, (00:08-00:12) Women's time was sacred, long ago Pow-wow of long ago, women didn't dance, commercial, money, today, (00:12-00:20) Long ago, offerings, given before the Powwow started, pipes, things happen when this is not done, whiteman's influences on Powwows, (00:20-00:31). 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 Elders (Cree) Workshop 178 part 1/3 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1973-09-25 Contributor An entity responsible for making contributions to the resource Bear, Mike Ochapooways, Daniel Pasim, Jim Frank, Norman Dustyhorn, Pius Cappo, John 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 00224 Powwows