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THROUGH THE EYE OF THE FEATHER
Digitized by the Internet Archive in 2018 with funding from Kahle/Austin Foundation
https://archive.org/details/througheyeoffeatOOOOunse
THROUGH lTHEEYEj ■OF THE ■ FEATHER NATIVE HARFORD COUNTY LIBRARY
3 1 526 01355941 1 HARFORD COUNTY LIBRARY 100 Pennsylvania Avenue Bet Air, MD 21014
WITHDRAWN Harford O. - r ,y ‘ u,*. Library
»P SALT
LAKE
CITY
I TUCHMAN
First edition 97 96 95 94
10 9 8 7 6 5 4 3 2 1
Text copyright © 1994 by Gail Tuchman Poem and artwork on page 94 © by Elaine Bluebird Reyna Photograph copyrights as noted All rights reserved. No part of this book may be reproduced by any means whatsoever, either mechanical or electronic, without written permission from the publisher, except for brief excerpts quoted for the purpose of review. Essays in this book do not officially represent the views of any Native American nation. They are viewpoints of individuals based on their own backgrounds and experience. This is a Peregrine Smith Book, published by Gibbs Smith, Publisher P.O. Box 667 Layton, Utah 84041 Design by Warren Archer Printed and bound by Sung In Communication Co. Ltd., Korea Library of Congress Cataloging-in-Publication Data
Through the eye of the feather : Native American visions / by Gail Tuchman. p. cm. ISBN 0-87905-641-X ISBN 0-87905-597-9 (pbk.) 1. Indians of North America—Religion and mythology. 2. Feathers—Religious aspects. 3. Indian featherwork—North America. I. Tuchman, Gail. E98.R3T47 1994 299'.7 — dc20
93-42653 CIP
CONTENTS
Acknowledgments..... 7 Introduction.
9
Andrew Thomas’s Vision.12 Brooke Medicine Eagle’s Vision.26 Apache Holy Woman’s Vision.38 Richard Dobson’s Vision.
52
Albert White Hat, Sr.’s, Vision.64 Sandra Black Bear White’s Vision.....74 David White Eagle Tree’s Vision.84 Elaine Bluebird Reyna’s Vision
94
In loving memory of my father, William Schwartz, who walked in beauty
ACKNOWLEDGMENTS
M
y deep gratitude to the many peo-
the museum’s photographer. Barbara Haugh
pie who made this book possible,
lent sound photographic advice.
especially to Andrew Thomas,
I am thankful to Mary Davis, research
Brooke Medicine Eagle, The Apache Holy
librarian at The Museum of the American
Woman (who must remain anonymous),
Indian Library in Bronx, New York, for pro¬
Richard Dobson, Albert White Hat, Sr.,
viding stacks of books; George Strayhorn for
Sandra Black Bear White, David White
getting me out of the library to my first pow¬
Eagle Tree, Elaine Bluebird Reyna, Ina
wow; the Council of the Nuyagi Keetoowah
Laughing Winds, and Tim Toohey—for their
Society for welcoming me at their ceremoni¬
infinite generosity of spirit in sharing their
als; Carole Weinstein and Daniel Baldwin,
teachings and knowledge of feathers.
who enticed me to New Mexico and who
I would like to express my special appre-
were with me when I found the feather; and
ciation to George Ancona for the invaluable
Julie Small-Gamby, Janet Yager, and Sally
contribution of his photographs and for the
Freeman.
generosity of his time. My gratefulness to each individual who was photographed.
Special appreciation to my husband Douglas and daughter Lauren, whose sup¬
I was fortunate to have the immeasurable
port, understanding, and love inspired me as
assistance and expertise of Caryn Talbot
I traveled, dreamed, and lived this book; and
Throop, Curator of Natural History and
to my mother, Dorothy, and David, Marti,
Native
and Andrew for their love and encourage¬
Heritage
at
The
High
Desert
Museum, Bend, Oregon, in selecting objects, tracking down slides, and fact-checking cap-
ment throughout. Acknowledgment goes to Madge Baird,
Communications
at Gibbs Smith, Publisher, for believing in
Director of the High Desert Museum, gener¬
the book, for her valuable suggestions, and
ously granted use of the photographs. Louise
for being a constant source of enthusiasm.
Stiver, Curator of Collections at the Museum
Thanks to Gibbs Smith, and to editorial
of Indian Arts and Culture and Laboratory of
assistants Dawn Valentine-Hadlock and
Anthropology in Santa Fe, New Mexico, gra¬
Sandra Chapman, as well as to Warren
ciously gathered artifacts and worked with
Archer, who created the design for the book.
tions.
Jack
Cooper,
Dance bustle. Double red cloth tails with tipped eagle feathers. Large ribbon (Cheyenne). (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
INTRODUCTION
I
t was in the deserted train yard of the old
across the expansive sky above the sun¬
railroad town of Chama that I came upon
drenched Rio Grande landscape, while in
“the feather.” Lying across the cold, steel,
the pueblo plaza below, feathers of hawks
gray tracks was a warm, delicate, yellow and
and other winged ones were transformed
blue offering. Instantaneously struck by the
into fans, hair ornaments, and other integral
juxtaposition of track and feather, I picked
parts of the dance regalia.
up the gift. The incongruity continued. That
Then I felt myself leaning against the
evening, while visiting a friend in Santa Fe,
cool adobe wall at the Hopi Second Mesa,
several feathers in a pottery jug caught my
watching hour after hour as long rows of but¬
eye. I proudly retrieved the pretty macaw
terfly dancers, brilliant in regalia, moved
feather from my backpack. My friend put the
through their prayers—moccasined feet tap¬
find into perspective, saying that to Native
ping out a rhythm on the soft, quiet earth. I
peoples feathers from different birds had dif¬
recollected wondering about the signifi¬
ferent meanings. The owl feather, for exam¬
cance of the dancers’ feathers and those tied
ple, was a feather of ill omen to certain
to the bushes in the plaza’s center.
Nations and the bringer of the dream to others. A feather was not simply “pretty”!
My thoughts flashed back to the annual Indian Market event in Santa Fe, where I
When I returned to New York and
had seen feathers on arrows, in basketry and
unpacked, I realized that my feather was
pottery decorations, in sandpaintings, in
gone. I wasn’t prepared for the reaction I
objects for personal adornment—silver ear¬
had. My intuition initiated the journey of
rings fashioned into dangling feathers—and
discovery that the macaw feather had laid
on eagle dancer kachina dolls.
out. As I reflected on my experiences in New
I remembered sitting in a firelit circle in
Mexico, images of feathers began to surface.
Taos witnessing an eagle dance for the first
I realized I had seen feathers everywhere—at
time. The dancer wore a sweeping fan-
the pueblo dances, at the Hopi Mesas, at
shaped tail in the back, and attached to his
Indian Market, in the firelight at Taos.
arms from shoulder to fingertips were eagle-
I recalled the red-tailed hawk soaring
feathered wings. With a beautiful, graceful
10 flourish of feathers, the dancer began glid¬
To Native Americans, the feather is uni¬
ing, circling, stomping, soaring, swooping,
versally symbolic. It is found in all aspects of
sweeping from side to side, dipping toward
life—from ceremonial use reflecting tribal
the earth and rising in the air—imitating
philosophies and religions to functional and
the movements of the eagle. And in the flur¬
ornamental uses. It is attached to all the
ry of feathers and dance, the eagle and the
activities of living: making rain, planting
dancer became one spirit.
and harvesting crops, success in fishing, pro¬
The spirituality of my experiences in
tecting homes, curing illness. Considered to
New Mexico fueled the desire to learn more
be the “breath of life,” the feather possesses
about feathers and their context within
the power and spirit of the bird of which it
Native American cultures. While valuing
once was a living part.
the feather’s intrinsic beauty, I was simulta¬
Each individual uses different feathers
neously aware that it carried deeper levels of
(wing feathers, tail feathers) from different
significance. Yet I couldn’t in a satisfactory
birds (each with its own symbolism and
way answer the question, “What is special
energy) in different ways for different pur¬
about feathers to Native Americans and why
poses (blessing, awakening, cleansing, heal¬
does their symbolism endure?”
ing)—depending on his or her own beliefs,
Searching for an answer, I continued my
knowledge, perceptions, and experiences.
journey to the Museum of the American
Yet within the framework of these differ¬
Indian here in New York to view feathered
ences
artifacts, to libraries to read through anthro¬
“through the eye of the feather.”
lies
each person’s
vision
to
see
pological reports and ethnological studies—
This book brings together people of dif¬
and eventually to powwows and ceremonials
ferent Native traditions relating the feather
in the East, to learn firsthand. By the time
to their cultures and describing its impact
the following summer rolled around,
I
and meaning in their daily lives. These peo¬
returned to the Southwest to actively talk
ple do not officially represent their nations,
with Native people about feathers, a sharing
but rather they present a vision of the feath¬
that would eventually evolve into this book.
er from their own varied life experiences.
I appeared before councils of elders and met
Their voices reveal how, through rituals and
with countless individuals. As my relation¬
traditions, the feather has reached from the
ship with each individual grew, he or she
distant past, into the present, and will be
opened up more and more. I listened to pow¬
carried forth into the future—an eternal
erful stories, told from the heart. And as my
symbol of continuity.
awareness grew, I was able to comprehend and feel much more fully the extent of what was being shared.
Gail Tuchman
THROUGH THE EYE OF THE FEATHER
ANDREW THOMAS’S VISION
Y
ou know, a single feather can really
feather, you have all your heart and soul in
attract you. I have an eagle feather
it. You feel all the anger, all the blessing that
that’s been blessed. It’s a beautiful
comes with it—all the tears that fall for that
sign. I like to display the feather in a frame
feather in praying for forgiveness and in
to show that I have a gift I
seeking blessing.
will cherish forever. I want to
The feather is a medium
keep it just as it is, just as
of communication with the
pure, having the graceness of
supernatural beings or our
the feather. It’s a cherishable
spiritual messenger. Since all
thing because it was given to
varied activities for life find
me by my father, a greatly
their
respected medicine man for
what I call “Native American
the Navajo structure. I hope
cosmos,” there are feathers
I’ll be carrying on his tradi¬
for every occasion. Feathers
tion and passing the feather
are with us to say, for exam¬
down to the next generation.
ple, a big hearty thanks for a
My position of becoming
successful season. There are
a Hataatli, singer or medicine
feathers for making rain, for
man, is promising. I’ve partic¬
success in hunting and fish¬
ipated in ceremonies using
ing, for protection of homes,
prayers, songs, and feathers,
and for curing the sick. We
to request the attention of
use them in lullabies, love
our powerful spirits.
songs,
The source is all there. The feather is like the center¬ piece. When you look at a
respective
corn
places
grinding,
in
and
social dancing. The feather is Woman’s hair brooch and feather. (Photo ©1992 George Ancona)
in our bylaws. There are not many taboos of a feather,
13
Porno feathered basket, with mallard drake neck feathers, woodpecker scalps, and California quail topknot feathers. Pendants are of clam shell and abalone. (Courtesy The High Desert Museum, Bend, Oregon; Doris Sivayze Bounds Collection)
because it’s good in the sense of a good per¬
female. The peaceful, quiet, gentle, soft,
sonal paraphernalia. It’s connected with our
soothing showers represent female rain. On
love and our legend.
the other side, we’re looking at the heavy,
Here, in the Southwest, we refer to a
violent, thunderous male rain. The same
feather or two as “the Breath of Life”—the
representation exists with Wind People,
breath of life which brings us happiness,
Sky People, Lightning People, Rainbow
happiness that employs the inner self, most¬
People, Com People, and Snake People.
ly. Happiness brings joy. Joy brings growth
The softer side is reflected on the female
or germination, and it brings abundance.
portion and the harsher side on the male
Happiness also brings us goodness, goodness
portion. We use feathers to show respect for
as in rain.
our spirits who bring in rain during the
Rain brings Rain People. Rain People bring equivalent balance between male and
summer so Mother Earth can be replenished for planting.
14
SNAKE DANCE The Hopi use a lot of feathers in their
terms of biting. With a snake, we’re look¬
Snake Dance in August. Two snake priests
ing at lightning, and lightning brings
enter the kiva carrying bundles of feathers
rain. We give thanks for finding the
which they make into feathered prayer
snakes. After the prayer offerings are
sticks to aid as a special messenger for the
made, a sacred com meal is sprinkled
gods to bring in rain. The sacred prayer
upon the snakes to purify them. The
feathers are also displayed on a kiva ladder
Snake Dance is a very electrifying event.
to aid in the protection from all evil influ-
The dancers have snakes in their mouths
ence that might enter the kiva. They sig¬
as they’re dancing. Real snakes! We
nal for quiet and respect, as well.
respect the real thing. Our gods must be
Upon finding the first four snakes,
real. Through our eagle spirit, some¬
prayer feather offerings are made by the priests. The snakes are addressed as “my
where in a point of a vanishing world, they will carry our message from the
son” or “my father” so later rain may
kachinas, through the feather, to the
come and the snake won’t be angered in
chief of the four directions to bring rain.
Hopi Snake Dance, painting by Otis Polelonema, ca. 1920s. (Blair Clark photographer, courtesy School of American Research Collections in the Museum of New Mexico)
15 As a Navajo, we strive for hozho “the
You’re brought up with eagle feathers
balance of harmony.” According to the tra¬
and you think of eagle feathers as a mighty,
ditional lifestyle and Navajo belief, the uni¬
as a legitimate. They represent the blessing-
verse is affected by good, which is under our
ness of the nourishing Mother seeking the
control, and evil, which is not. Between
powerness of Father Sky, which has control
those two extremes is the B lessingvuay,
over the planets, the cosmos, the constella¬
which brings the whole concept together
tion of our stars, the Milky Way, and the
into balance. Blessingway is the center core
moon. They’ve all been said for in a blessing
of the Navajo religion. The Blessingway
with the help of a feather. Using a feather is
ceremony shows us how to live our
like summoning your gods. If you
lives in beauty, in harmony. The
respect your feather, in turn, you
Blessingway forces out opposition and creates balance. The key is bal¬ ance! The ceremony involves a lot of feathers. To us Blessingway can be pleas¬ ant. It can be beautiful. It can be holy. It can be dangerous if it likes to. But it’s usually the goodness of life—what we cherish. Blessingway
When you LOOK AT A FEATHER, YOU HAVE ALL YOUR HEART AND SOUL IN IT.
receive goodness for life. If you sit down and look at a feather, there’s a divider, a stem or “path” down the middle that we like to think of as the equivalent balance. We use that pathway heavily in our pottery, in our bas¬ ketry, in our sandpainting, in our weaving. We emphasize this bal¬
can prevail to the blessing of new
ance to a point where we like to
life, a new hogan, marriage, live¬
seek it as the goal of life. We seek
stock, crops. It comes to the attention of our
it in relationship to the forces of the uni¬
highly religious spirits, the spirits that will
verse, through which we hope to prolong or
bring blessing upon all people.
enhance our daily lives.
It was Changing Woman who gave the
When a person disrupts the balance of
Navajos the Blessingway rituals and who
harmony, he or she creates disorder and
has
other
risks mental anguish, physical torment,
Navajo beliefs. Changing Woman, accord¬
even death. To restore the balance, we per¬
ing to our mythology, created the first Dineh
form one of the Navajo Chants or Ways.
(the People—the Navajo), and she alone
These
among the Holy People always does good
involve the use of medicinal herbs, prayers,
things for the tribe. Changing Woman and
sandpaintings, songs, and feathers.
nurtured
and
nourished
all
Sun (also among the Holy People) come
The
long
and
Enemyway
complex
ceremonies
ceremonial
restores
together to bring infinite unity and order to
balance. It’s performed if someone is being
the universe.
contaminated with the enemy—what that
'III
16 person is fighting. The enemy can contami¬ nate
the
physical
or
spiritual
By ceremony only, can harmony be
being.
restored. Therefore, by effecting a cure, by
Whatever’s upset must be replenished. The
transferring the medicine and power, the
ceremonial takes about nine days. There’s a
sickness falls from the patient and harmony
lot of purification—purification of the mind,
returns. Through faith, with the forces of
the heart, the soul. There’s a lot of praying,
the “Holy Ones,” we rise to walk in beauty
a lot of songs to be sung, and a lot of danc¬
once again.
ing as well. And the important role is the
W
feather, which brings forth the summoning
hen we seek out feathers, we don’t
of the gods. It’s like the gods are looking
just pick one out and say this will do!
down and speaking, “You’ve disturbed the
We have to pick a good feather so the gods
balance. We grant your wish for harmony,
will be impressed. It’s very, very important.
but you must respect us and your bylaws.”
We try to impress our gods so that the feath¬
The Enemyway has a patient side which
er brings our message to them. The gods
upsets the harmony bal¬
above us will seek down
ance and a receiving side
and see if this individual
which receives two eagle
is wearing a feather. That
feathers. We carry a staff
usually
decorated
animal
Native American. If he’s
wear, personal parapher¬
a Native American he
nalia, and the two feath¬
needs special attention,
ers to represent the plant
because he belongs to
kingdom and the animal
our lineage,
kingdom. A com pollen is
our
very useful
Com
And if he is praying,
pollen and eagle feathers
he will be paid special
are a must for our upper
attention.
gods. They really love it,
The
with
also.
means
he’s
a
perhaps,
cultural
feather
group.
is
an
to the extent that they
identification to Native
love to hear our chants
Americans—to provide
and our prayers. That’s
us with guidance, securi¬
what they thrive on and
ty, and protection. A lot
cherish. So we cherish those things in a favorable
of times you see paint¬ Dance regalia ornaments. Eagle feathers and fluffs, with yarn-wrapped quills.
way by trying to impress our gods that we do care.
(Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
ings
where
a
warrior
blends with an image of an eagle. We’re trying to
17
Porno feathered basket. California quail topknot feathers curl under the shell beads on the rim. Yellow feathers and green-and'black duck feathers create the design. (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
18 seek eagle spirit. An eagle is a very good war-
we don’t want to go off. It prolongs us in
rior, provider, and protector. We like to have
longevity. It’s supposed to enhance us in,
that spirit in us in everyday life to protect us,
perhaps, germination, so we can germinate
to guide us, to seek us to expand our hori¬
from where we’re at into a prospective
zons. If we’re religious, we like to stabilize
family man or into respecting who we are in
that, to have the option of power-
the identity of being a Navajo. It’s
ness to prevail through our life.
like we’re saying, “I’ll follow the
How do we get feathers? If you’ve been initiated, you get your Native name and you get your feather. The feather is yours for life. When you’re initiated, you go through a sweat bath where you purify yourself. Then you pray and take an oath with the feather presiding. It’s like tak¬ ing an oath through the Bible when you’re in a court system. You’ve got to hold the feather toward the East, the giveness direction. From the East, we seek new life. East is the gift bringer of goodness. We confront ourselves and say, “I’ve conquered what I want to conquer. Now I take this oath
You CAN
trail of happiness through the eye of
PASS A BLESSED FEATHER ON TO SOMEONE ELSE, AND THAT’S ABOUT THE HIGHEST GIFT YOU CAN EVER COME UPON FROM A Native American.
the feather, through the eye of our ceremonials!” Only if an individual has been disciplined toward being Native American, is he eligible toward tak¬ ing a feather, because we don’t just hand over feathers and say, “Hey that’s yours.” You have to work for it, just like any hierarchy symbolic thing. Every feather must be blessed. The eagle feather has got to be pure so the recipient will not catch the badness of the feather. The medi¬ cine man blesses the feather. You can pass a blessed feather on to someone else, and that’s about the highest gift you can ever come upon
and respect my gods. I’m going to
from a Native American. You have
be honest and fair and I will help
money value
my people—through this feather. I take this
and so forth,
but
there’s no comparison to a feather.
feather as an identification, so when I seek
In old times an eagle feather was replen-
help in prayers the gods will give me special
ishable. Now we’re having a lot of problems
attention and comprehend my prayers so
getting them because eagles are an endan¬
they can be answered.”
gered species. Legitimately,
if you’re a
Through the feather we keep that oath.
Navajo, two feathers are probably the ulti¬
It’s a promising. It enhances forgiveness. It
mate of all ultimates. That’s all you receive
enhances us to be more disciplined, because
for your personal use,
unless you’re a
19
Hopi Snake Dance figurine by Frederick Myron, ca. 1953. (Blair Clark photographer, courtesy School of American Research Collections in the Museum of New Mexico)
20
Feathered banner. Native American flag to attach to a pole is made of white turkey feathers. (Courtesy The High Desert Museum, Bend, Oregon: Doris Suiayze Bounds Collection.)
medicine man and you need them for vari¬
special saying for the eagle to replenish
ous other things.
what we use.
A lot of medicine men have old tradi¬
To be able to hunt an eagle, you must
tional hunting ways where they track
have a permit. Highly respected medicine
eagles down. That’s a reversal of you,
men are usually the only ones to handle
mother nature, and the eagle, where there
hunting eagles. You must have experi¬
are a lot of prayers toward the animal. We
ence. The individual hunting must have
ask our Creator to provide a lot of eagles
the spirit of the eagle. The Spirit is a highly
so we can use the feathers for special spir¬
concentrated word.
itual messages for the upper gods. Through
We use a staff of eagle feathers because,
our prayers, chants, and songs, we have a
to us, eagle represents “free spirit,” “the
21
Eagle Dance. (Photo © 1993 George Ancona)
22
Eagle Dance, painting by Tonita Pena, ca. 1935. (Blair Clark photographer, courtesy Museum of Indian Arts and Culture/Laboratory of Anthropology, Santa Fe, New Mexico)
spirit of freedom.” It’s like the American flag,
turkey feathers on the shrines, which often
which is symbolic in that it means American.
take a lot of feathers. Sometimes an eagle
To the Navajo, eagle feathers signify the
feather is added just to dress it up.
boldness, the unity of all. The eagle is a sacred
animal.
We
thank
the
eagle.
The feathers we do not use are owl feath¬ ers. It always seems as if the owl will bring
Kingdom-wise the eagle is in charge, so when
bad
messages to
the Navajos,
perhaps
you think of feathers, you think of eagles.
upcoming death, an accident, a disaster. We
We use turkey feathers as well. We can
automatically use our corn meal or pollen
weave them into a blanket and use them on
and, through a quick prayer with it, use a
our Navajo staff. Turkey comes in abun¬
feather to say it’s not going to happen.
dance, fortunately, with abundant feathers.
If an owl flies over and comes from the
It’s very important to us, because we use
north, that’s especially bad because North is
23 the direction of evil. The eagle has
people. Some people are not aware
sent the owl to give the lineage
of the beautiness of eagles—the
group or clan group a message that there’s a harmful thing that will happen within a day or perhaps a week. We’ve always respected that message. We just don’t respect Owl. I’m sure he or she has a family and friends, but we don’t respect Owl. We are also afraid of it. We automatically sense it as bringing a bad message! However, as I said, the Navajo people are very respecting toward the eagle. The Eagle Dance is an example that we are at peace and harmony with the eagle and give it respect. We share the social Eagle Dance with non-Indians to show what we do in a cherishable sense to respecting all giveness of nature and all giveness of the animal. In the social dance we’re not bringing out the true giveness of the cere¬ monial Eagle Dance, so we don’t put a mask on it. If a dance is done for the religious aspect, you put a
The Eagle Dance is to GIVE AN EXPRESSION TO THE EAGLE AND TO REFLECT THE GRACE OF THE Native PEOPLE, THE GIVENESS OF THE Native PEOPLE, AND THE RESPECT OF THE Native People
grace, the beauty, the freedom— that we as Native people like to have. We’ve been shortchanged quite a bit. It seems like we’ve been neglected on freedom. We like to seek the beautiness. We’re beauty in our own way. We pros¬ per in our own way. We have our own religious structure. We have our own lineage, our own clan or clannish groups. We have our own language and our own dialect. We have appreciation and respect for the universe itself, as in our father the sky, our mother the earth, and the kingdoms—animal, plant, and human. For the
Eagle
Dance,
each
feather is individually wrapped and sewed on the costume. We wrap the stem of the feather in yarn or leather. We see the stem as a beginning of life. The stemming of life is like migrating, and there is a path in the middle. When we go
mask on it. Non-Indians usually
into the fluff of the feather, it
don’t see that. Anything that has a
spreads out because we learn to
mask is considered a special messenger for
expand. We expand our horizons,
the
minds, our religion, and the giveness of
upper gods—Hopi
have
Kachinas;
Navajo have Yeis. The Eagle Dance is to give an expres¬ sion to the eagle and to reflect the grace of
our
what we have to provide through our cus¬ toms. It’s all reflected in the single feather. We like to respect that.
the Native people, the giveness of the
How respectful are we? At a powwow if
Native people, and the respect of the Native
an individual drops an eagle feather, he is
24
disqualified. That’s how reli¬ gious we are, even at a pow¬ wow which is a social func¬ tion. If you’re in a competi¬ tion and you drop a feather, you’re automatically disqual¬ ified. But you don’t just; pick up the feather. Four dancers who are war veterans will pick it up and sing a song for it.
Then
the
feather
is
returned to the person who ■
• 'iWi
I 'SpHF'mI
■ H
J
Wr
7m
dropped it. The respect of the feather! The feather is to secure us, in a lovable sense, to
mlk
make
BK /'
sure
prospective
jrPBKj
we’re mind
in
a
and
a
prospective stage, that we Dropped feather at a traditional men’s dance. (Photo © 1993 George Ancona)
respect ourselves and our fel¬ low individuals.
In beauty happily I walk With beauty before me I walk With beauty behind me I walk With beauty below me 1 walk With beauty above me I walk With beauty all around me I walk It is finished again in beauty It is finished in beauty —The Night Chant
25
Eagle Dance. (Photo © 1993 George Ancona)
BROOKE MEDICINE EAGLE S VISION
I
am an enrolled member of the Crow Indian tribe, raised on the reservation as a child, yet my perspective is likely to be very dif¬ ferent from the traditional Crow perspective. First of all, when I was a child I lived on a self-sufficient ranch far even from the nearest Indian village (made farther by the fact that we often traveled horse¬ back). As well, my own family was not very traditional or religious. Thus I didn’t get to participate in the few ceremonies that were held. (At that time the Indian Freedom of Religion Act had not been passed, meaning that Native spiri¬ tual practice was still illegal and sacred gatherings were few.) Secondly, as an adult I’ve traveled the world and studied with a wide variety of teachers and elders from many spiritual traditions. So it’s important to understand that in sharing with you, I speak from the perspective of my own experience,
My
basic WORK IS FOR Mother Earth, and I DO THAT THROUGH HELPING PEOPLE FIND A WAY OF HARMONY AND WHOLENESS WITHIN THEMSELVES AND WITH All Their Relations.
not as a representative of my tribe. From early childhood, I have been interested in healing of all kinds, and I have pursued a path in my life which has led to many ways of working toward wholeness for myself and others, and for heal¬ ing of our Mother Earth. Thus I am an Earthkeeper, a teacher, a ceremonial leader, singer, per¬ former, and one who walks a heal¬ ing or medicine way. As an Earthkeeper, my interest is in making a difference in the world in such a way that we twoleggeds will be allowed to stay here and to replant the beautiful garden we have destroyed. My basic work is for Mother Earth, and I do that through helping people find a way of harmony and wholeness within themselves and with All Their Relations. Whether it is working with the concept of critical mass in global ceremonies or doing healing work with my hands on individuals,
27 it is all aimed toward that same end.
eagle flies high, close to Spirit, and then also
In recent years, I’ve completed a series of four
globally-oriented
ceremonies;
comes down to nest on Earth. Thus, the eagle
we
feather is something which can help us to
invited people from all over the world to
touch into Spirit, into Source, into the Great
pray with us four different years when we
Mystery—and then to bring that vision back,
gathered in dedication dances. One of those
to ground it and make it real on Earth. In my
ceremonies was held in conjunction with
tradition, when working with the eagle
Harmonic Convergence and was
feather, you tell the truth—the deep
called “Dance Awake the Dream.”
truth. I use them in teaching, heal¬
Basically, that experience was to
ing and ceremony—especially to
awaken us to the fact that it is time
In my
cleanse with the smudge, to change
to make the dream real on earth,
TRADITION,
and clear energy, in calling Spirit,
rather than just talking about it— to make peace and harmony and
WHEN
abundance for all a reality in our
WORKING
daily lives.
WITH THE
T
and on a talking staff to help people be clear and truthful when they speak in circle. Although the eagle feather is the one I use most, I would like to
he simple fact that feathers
EAGLE
use the feather of another very spe¬
represent the magic of flight
FEATHER,
cial bird to discuss some concepts
makes them very special, as does
which I feel are very important.
their beauty. No wonder natural
YOU TELL
This is the owl feather, which car¬
peoples all over the world have
THE TRUTH
ries very different meanings for var¬
used and cherished them! They can be dedicated to many kinds of work, whether a simple fan for
ious tribes or groups, yet in modern
-THE DEEP
times has come to be associated by
TRUTH.
some with death and evil. For me,
healing or using as part of a dance
in contrast, the most important law
outfit, or an exquisite headdress
as we look at any part of creation,
which represents our spirit’s ability
including the owl and her feathers,
to fly.
is the honoring of everything alive—that we
Although I use many different feathers on
should respect the sacredness of all things.
different occasions, my primary use is of eagle
Each and every thing or being has its own
feathers,* which to me symbolize Spirit. The
medicine—by which I mean its unique power or gift to the world. To me, the owl is
*As you may know, it is illegal for anyone without a
the sacred guardian of the night and dark¬
Fish and Game Department ceremonial permit to use many kinds of feathers, including eagle, hawk, and other birds of prey. My permit allows me to carry and use them.
ness—which is no better nor worse than the day and light—created by the Great Creator
28
Dancer. (Photo © 1993 George Ancona)
just as you and all things were. The owl’s medicine allows us to see our way through darkness—to move with grace
Great Mystery with open eyes and heart. This can be very powerful, helpful, and even beautiful to us.
and ease through the dark times, the dark
For many Native peoples to whom the
nights of our lives. Its medicine helps us
owl has come to represent evil, death itself
become conscious and clear about our own
has also assumed negative associations and
death and move toward that aspect of the
come to be feared. In the old days, the
29
Fancy Shawl dancer. (Photo © 1992 George Ancona)
Group of dancers. (Photo © 1993 George Ancona)
people understood that they died when they
that through dying Earth receives the pre¬
were ready to leave their bodies—that death
cious gifts of birth and newness. Those first
was only a change of worlds and had nothing
humans then chose to have death and all the
to do with evil. There might have been evil
beauty
deaths, but death itself was not in the realm
springtime, renewal—rather than remaining
of evil. In fact, there are many creation sto¬
the same forever.
that comes
of death—children,
ries and myths where the two-leggeds have
It may have been through the incredible
had the choice about whether or not to have
genocide that signaled the devastation of
death as a part of being on Earth. Some felt
American Native cultures, when so many
they should not—that everybody should stay
were killed without honor—horribly and
on Earth and remain the same; others felt
senselessly—that death became an un-
31 natural thing to some Native people. Such
To these children (and evidently to
senseless and bizarre death very likely gener¬
those who influenced them), the little
ated terror in those still living, and I think
people were boogey men, or bad—the kids’ experience
this terror has carried down and
unknown (death) became some¬ thing terrible and evil. An example of this kind of degeneration concerns the “little people,” once recognized by our northern tribes as powerful spirit helpers; in recent years, I have experienced
many
people
on
reservations who have come to fear them. The little people were really small people, a little bit over knee-high, with very large heads. Although they were very strange and different, they were spiritual helpers to the people and were
honored,
respected
and
revered. Not long ago, on the reserva¬ tion near my family’s home, I was riding a horse at dusk, and I asked the kids who owned the horse if I could take it up through the hills rather than just around the house. They said with big eyes, “You’re
taught
them
“they’d get them”—which is a
made people afraid; then anything associated with darkness or the
had
What’s true is THAT ANYTHING AND EVERYTHING WE HAVE WHETHER A CRYSTAL, A CAR, OUR MONEY, A FEATHER, IT COULD BE ANYTHING WE CAN DEDICATE THOSE THINGS TO GOOD OR EVIL.
total degradation of the lore which once saw the little people guiding vision questers through the diffi¬ cult trials of their vigils! When I actually rode up through those hills that evening, the horse sensed many things that made him ner¬ vous and “spooked.” Although I couldn’t see any little people, I felt the kids were right—and the horse knew the little people were all around. Yet the special and unique power of these spirit helpers had now become a threat, something perceived as dangerous. While Huichol
talking teacher
to from
an
old
Mexico
about the owl, he taught me a pro¬ found lesson. “You know,” he said, “what’s true is that anything and everything we have—whether a crystal, a car, our money, a feather, it could be anything—we can dedi¬ cate those things to good or evil. In the instance of money, we can
I
spend it buying cocaine and selling
answered, “Yes.” They said, “It’s
it to children, or we can use it to
just about to be nighttime,” and I
buy food and give it to children.
goin’
up
in
the
hills!”
and
said, “Yes.” They warned me, “The little
Money doesn’t have a negative or positive
people are up there. They’ll get you! The
energy—it’s how you dedicate it! ”
little people will get you!”
He went on about the owl: “Since the
Dance bustle and arm rosette set.
Dance bustle. Pheasant feathers, immature bald eagle feathers,
Made by Mott Green, Nez Perce.
dyed commercial feathers, and ribbon. Red wood tail flaps.
(Courtesy The High Desert Museum, Bend,
(Courtesy The High Desert Museum, Bend, Oregon;
Oregon; Doris Swayze Bounds Collection)
Doris Swayze Bounds Collection)
owl’s world is one primarily of night, they’re
object we receive, especially those which are
naturally associated with the darkness. Even
for use in ceremony; through smudging or
though they can be dedicated to darkness or
other means, clear it of whatever influence it
light, some people who want to do dark
might have carried, and then dedicate it.
things—bad and hidden things—dedicate
“When you see an owl feather,” he
them to evil. But they’re not innately evil—
concluded, “pick it up and dedicate it
although they may be chosen to be dedicated
immediately to the light—to seeing through
to evil because of the dark aspect they some¬
the dark times,
times represent.
ease through unclarity, to positive ends of
“What is important is to cleanse any
flying with grace
and
whatever kind are important to you—
33
Child in traditional regalia, (photo © 1993 George Ancona)
34 dedicate it and then that will be its
Others I know among the Chero¬
use!” This old Huichol’s teaching
kee tell of using owl wings to break
about feathers has taught me a
It has
powerful lesson about my own life
TAUGHT ME TO ASK THE QUESTION, “TO WHAT IS MY LIFE OR THIS OBJECT REALLY DEDICATED, WHETHER FORMALLY OR NOT? What USE DO I WANT TO MAKE OF IT; WHAT WAY OF BEING DO I WANT IT TO PORTRAY?”
and other objects as well. It has taught me to ask the question, “To what is my life or this object really dedicated, whether formally or not? What use do I want to make of it; what way of being do I want it to portray?” Thus one can choose to like or not like the owl; yet to assign to it evil, danger or death is very differ¬ ent from the way I approach the world. There are dark shamans or dark witches who have dedicated owl feathers to negativity, but the owl is Great Spirit’s creation and the
gift of Great Mystery—an
innocent creature. I’m a person who has always wondered “Why?” If I can’t find out what’s underneath all things, I ask and ask until I tend to drive my elders crazy. The question “Why is the owl so terrible?” was finally answered in a way that made total sense
to
me
by
the
wise
old
Huichol, who helped put together in my mind and heart how ceremo¬ nial (and other) objects are all to be used—through dedication. Some of my friends in various tribes use
up pain, whether present in an individual
or
simply
lingering
about in a hospital room or coun¬ seling office. Any feather can be dedicated— it could be a hummingbird feather! What is important is how it’s used, and what you have in your heart when you use it. I am saddened because I see too many people now using feathers as a symbol of their status in Native ways, when the deep truth is that Native ways are not about the “beads and feathers” (as one of my elders reminded me). For example, it’s not how fancy a peyote fan may be nor how beauti¬ ful the feathers that is important— rather it’s the spiritual aspect and practices of peyote as healing med¬ icine that should be primary. Though a hummingbird feather is very tiny and perhaps does not seem as impressive as an eagle feather or peyote fan, its medicine is one of the most powerful. This tiny bird has enormous power and ability. 1) Hummers are carriers of an exquisite, iridescent beauty and as such are powerful models for us. 2) They have quite incredible com¬ mand of the air, being uniquely
them as “woman medicine”—to
able to move forward, backward,
bring forward the deep feminine.
up, and down very rapidly. Their
35
Though a HUMMING¬ BIRD FEATHER IS VERY TINY AND PERHAPS DOES NOT SEEM AS IMPRESSIVE AS AN EAGLE FEATHER OR PEYOTE FAN, ITS MEDICINE IS ONE OF THE MOST POWERFUL. Sappho’s Comet Hummingbird. (Photo © NYZS/The Wildlife Conservation Society)
little bodies do so much just simply to defy
morning. They have a miraculous ability to be
gravity; scientists have said they shouldn’t
everywhere at once in this world, and yet
even be able to fly, yet they do. A tiny
demonstrate an incredible courage and will¬
miracle! 3) They live at the very edge of sun
ingness to live on the edge of their experience.
vival, literally on the edge of life and death.
Sometimes I use hummingbird feathers
I have learned from hummingbird experts
for healing. When I need something very
that if a hummingbird flies far at night and
powerful to heal a deep wound or critical dis¬
gets nothing to eat, it can actually be dead by
ease, I choose the hummingbird feathers.
36
In WHATEVER WAY WE USE FEATHERS THEN, IT IS IMPORTANT TO RESPECT THEM AND THOSE OF OUR SISTERS AND BROTHERS FROM WHOM THEY COME.
Peyote fan (drop fan). Hawk, ring-necked pheasant, and wild turkey feathers, among others, with leather handle. (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
That deeply wounded person is on the same
In whatever way we use feathers then, it
edge of life and death which the hummer
is important to respect them and those of our
knows and handles so well. In such a situa¬
sisters and brothers from whom they come.
tion, I lay the little tail feathers against the
Their special beauty and magic can be mag¬
wound, so that their power can energize that
nified through our human intention. Thus I
area. Or, if I’m working someone’s heart—
remind you again to be clear about your way
their emotions—I use the feathers as if to
of using them and to dedicate them in ser¬
“sweep away” that old energy, like sweeping
vice of All Our Relations. I have spoken,
or gathering to release it.
Brooke.
37
Anthony Standing Rock in traditional dance regalia. (Photo © 1992 George Ancona)
APACHE HOLY WOMAN S VISION
I
’m a holy woman from the Lipan band of
Native Americans, everything is circles.
the Apache. What I am doing when I use
Everything. We’re in a circle that can return
a feather is calling the power of the spin
our being and incarnate human spirit. We
it to come. I use the feather to then
have forgotten that we are loved,
brush the aura of the person, to
that we have come from that
cleanse the negativity and that kind of thing out of the person’s field. I am calling power to come and do that. The eagle feather is the feather,
par
excellence,
for
Native
American people to use in cleansing and healing. What is the symbolism of the feather itself? We can look at the quill as the path and the joining of each of the furry feather parts on each side of the quill as events in our lives. The path is to remember the past and those who went before us, since we always honor the ancestors. But it’s deeper than that in the sense that there isn’t really anything for us
The EAGLE FEATHER IS THE FEATHER, PAR EXCELLENCE, for Native American people TO USE IN CLEANSING AND HEALING.
power, and we are that. The “path” is the path of the heart—to return to the memory of who and what we are and then to live that on earth. The circle indicates the circu¬ lar path and the eternal return. We see that in the cycle of nature— the eternal turning. The seasons. The days. We don’t use the linear concept, rather the cycles of the turning. And because we are in and of nature itself—who is our mother—that is true for us, too. Look at the quill as the path of the heart and the feathering part, all the barbs that branch out from the quill, as decisions in life as we make
to learn. We already know, but we
our journey. Some of them are
forgot when we came into form—
receptive, creating the feminine
when we were bom. We forgot where we’ve
aspect—which is what we’re always returning
come from—the great round it’s called.
to—via the active, consentive masculine
So we venture into the round of form. To
power of being able to do anything.
39
On each side of the feather is both femb
In my tribe, women are honored for
nine and masculine. What one is striving for
woman power. If we’re birthed from the femi¬
all the time is to bring oneself in such align-
nine principle, the power or action of the
ment with the Great Mystery that the mas¬
masculine principle, then, lives within us.
culine and feminine energies are
That’s where we’ve come from. We
perfectly balanced within—so that
have those powers within us. We
there is no war within one’s own
Look
heart. And that’s where peace
AT THE QUILL AS THE PATH OF THE HEART.
begins! The
Great
Mystery
is
the
unnameable. It is Reality with a capital R—out of which everything comes
and
also
within
which
everything lives, moves, be’s. The
can be in the feminine mode with the stereotype in form—for the female to carry the feminine— though that’s not 100-percent true, because men carry the feminine too. Women manifest and show a lot of the
feminine
characteristics,
which is the receptive. For exam¬
Great Mystery lives within every¬
ple, one of the things many women
one, every object. And ultimately
do when they first hear or feel
you come to the understanding that there
something is to reflect on the meaning. They
isn’t anything but that anyway. In the mean¬
don’t go immediately into “That means so
time, as we journey down the path of the
and so.” They demonstrate that power a
heart, we’re waiting to come back to that
great deal more than men typically do,
knowing and living within ourselves.
though some men are learning—hopefully!
THE APACHE The background of the Apache is that they were nomadic, existing in bands. There were many bands of Apaches. There still are. In the past the Apache were more hunters and gatherers than settlers. Apaches were probably with less sophistication of social form than tribes that were settled. We Apache are very fierce people. “Don’t cross us” is sort of the message. “Don’t mess with us.” The Apache might have been less reflective, in the old days, than a settled tribe. They were quicker to go to war with you if you crossed them. And part of that had to do with just surviving, because the Apache were a small band.
40
For the MASCULINE PRINCIPLE, WE’RE GOING TO HAVE THE CAPACITY TO CONCEPTU¬ ALIZE AND HAVE ACTIVE MOVEMENT WHICH CAN DIRECT THAT FEMININE ENERGY, IN APPROPRIATE WAYS, OUT INTO THE WORLD AND YOUR CHOICES OF LIFE. Spirit wheel and feather.
(Photo © 1992 George Ancona)
41
Dance bustle. (Photo © 1992 George Ancona)
42 Out of that reflection flows the understand¬
line aspect. It’s what you choose to do and
ing of respect and relationship for whatever
how you choose to do it, how you walk the
it is that you’re reflecting on. And
road, the path, as you go along. It’s
out of that grows the nurturing,
the balancing within your own
because you see in a whole more than you do in pieces. For the masculine principle, we’re going to have the capacity to conceptualize
and
have
active
movement which can direct that feminine energy, in appropriate ways, out into the world and your choices of life. It requires the mas¬ culine principle, or the action, to be able to actualize whatever it is that you have reflected on. So that’s a part of the meaning that all things are born of the fem¬ inine—the interior of our being, that part of us that takes in. And of course, for women, our bodies are even that way. We can’t escape that, because we’re in the cycles and our body will do it whether we’re conscious of it or not. Men usually have a harder time with the inner being. Because, for example, when we have our moon time—our period every month—it reminds us that mystery is going on within our body. A woman’s body can catch
We can
being of those powers of the mascu¬
look AT THE FEMININE/ MASCULINE IN THE BLACK (dark)/ WHITE (light) PARTS OF A FEATHER. The dark ASPECT IS FEMININE IN OUR Apache TRADITION; THE LIGHT ASPECT IS MASCULINE.
line and feminine. This is why in the Native world so many of the tribes were matri¬ archies, and just the men did the fighting. But they didn’t do so without the
permission of the
women, because women are the ones who birth the children. And you don’t want your son, your hus¬ band, and your father out there get¬ ting their heads cut off! But that whole idea has been lost in modern culture, and a lot of women today are in the army. In the past, some women were warriors. There were some great female war chiefs. They were not precluded from that, but the emphasis was not on it. For the feminine aspect, then, it’s a very close nurturing—interac¬ tion. For the masculine aspect, it’s more the outer vein of guardian and protector of the feminine. We can look at the feminine/ masculine in the black (dark)/ white (light) parts of a feather.
the spirit of a new being and nur¬
The dark aspect is feminine in
ture it. Think about all that hap¬
our Apache tradition; the light
pens in that process. Then what
aspect is masculine. You can get
you do is extrapolate those things into the decisions of your life—which is the mascu¬
into numbers as well. When you’re looking at patterns of light,
’ll
43
Apache quiver and arrows, 1930. (Blair Clark, photographer, courtesy Museum of Indian Arts and Culture/Laboratory of Anthropology, Santa Fe, NM)
44
Feathered head bonnet. (Photo
© 1992 George Ancona)
45
Dancers.
(Photo © 1993 George Ancona)
you’re looking at something that is akin to
which doesn’t allow us, then, to do the
the sun, which is the masculine principle—
things that we’ve done. We don’t do those
the protector, the guardian, the life giver. So
kind of things to our relations!
if you’re looking at actions that you’ve
The light aspect has to do with the num¬
taken in your life, then you have to ask if
ber one in terms of the clarity of your con¬
there’s an alignment with that kind of pro-
sciousness, of what the Dream is inside that
tection—first of all for yourself as a being
you’re actualizing out here. Then the dark
and then for all of your relations. That
aspect is the feminine, the reflective.
includes all of the children of earth. Air and
You look at the feather, and you look at
water are the first children of earth, and
events and choices and such in your life.
then the plants, right on down through the
Then you extend the feather up, and you ask
kingdoms. Our understanding is that those
the power to come and to help you. Because
are all our relations. And there’s a specific
when you point your path, your quill up, and
familial fizz to that, not a separated thing,
the decisions that you’re making, then
46 you’re also asking for those decisions to he in
understand what’s going on or not, you tmst
alignment with the Great Mystery. The
it. From the basis of tmst (three), all things
Great Mystery sends the answer back down.
are bom from the power of the four direc¬
If a person wears or holds one feather,
tions. Four is balance. Seven is balance with
there’s the connection with the sun. Two is
the birth of whatever it is, through the power
associated with the feminine side of things.
of the four directions in perfect trust. Four and
You can look on that as the power of reflec-
three together—that is the Dream.
tive consciousness. You have con-
Everything said about numbers
sciousness in All, which is the one.
can relate to the wearing or holding
Two is
When you reflect on it, you have a content to that consciousness. That’s the feminine, and everything is bom out of that—not just the physical of our bodies, but our mentation. Two is always woman, and in my Apache tradition, it’s black. Black symbolizes Grandmother Earth —the planet. We wear the robe of Grandmother Earth. Our bodies are Grandmother Earth. We are made of the elements of this plan¬ et, primarily water, but we have the minerals and all the other parts. And when you die, your body returns, your robe returns to her. So your body goes home.
ALWAYS WOMAN, AND IN MY Apache TRADITION, it’s black. Black SYMBOLIZES Grand¬ mother Earth— THE PLANET.
of feathers. Nothing in any tradition is done without meaning. There are different symbols, different ways of approaching these things. One way you might be praying for the Dream is by hanging seven feathers from your pipe. You would do that if you’re praying for the people, so that the people can live, and
if you’re
praying
for
the
restoration of trust and for the beauty of the Dream to come awake—the dream of balance of har¬ mony in all beings on earth. I wish we could achieve that. I’ve spent my life working for it, so I guess it’s the best you can do!
All is a whole. Everything has
Number twelve is the grand¬
meaning. You sit and reflect, and you
mothers and grandfathers, those
smoke your pipe, and you ask to remember
who have come before. They’re in spirit form,
what these things mean in your own heart.
and they’re available to help us. The hawk
One is consciousness. Two is reflective con¬
tail, in nature, has twelve feathers if they’re
sciousness with content in it. Then you have a
all in place and haven’t molted out. If you’re
triangle which is your platform, your base.
using a twelve-feather fan, then you’re obvi¬
That’s three—trust. Trust in total interdepen¬
ously going to be praying for the ancestors to
dence and interreliability of the All, the All
work through you. The ancestors know better
within the Great Mystery. Whether you
what to do than we do. If we release our
47
Jicarilla Apache eagle-feather headdress, late nineteenth century. (Blair Clark photographer, courtesy Museum of Indian Arts and Culture/Laboratory of Anthropology, Santa Fe, NM)
Pipe stem. Incised wood with golden eagle feathers wrapped in red yarn. (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
Traditional dancer.
(Photo © 1992 George Ancona)
Traditional dancer.
(Photo © 1992 George Ancona)
notion that we’re so smart, put our littleness
Not everyone has an affinity to use an
aside, and let the grandparents work through
eagle feather. They might use hawk instead.
us, then a lot more can be achieved in the
They might use both. For example, I might
direction of the Dream. Because they know
brush you with a hawk feather and cleanse
better than we do, their vision is higher and
your aura. If I was going to do full work with
clearer, and since they’re in spirit form,
you, I’d use an eagle feather.
they’re closer to the Great Mystery.
W
When you’re calling for power, the eagle is the one for Native People. The red-tailed
hen a person has an affinity for a certain
hawk (the “little messenger”) has tremen¬
bird, he or she uses feathers associated
dous power and tremendous meaning, but in
with the medicine of that bird. Medicine is your
my mind it’s a transduction. If I’m really
giveaway. It’s the giveaway of what you have—
working for you to heal yourself, then I want
your gift back to life. Everything knows what
to call all the power that I possibly can. So
its giveaway is except twodeggeds. We have a
I’m going to use an eagle feather. Most
hard time discovering what that is!
everyone is going to do that.
49 ing feathers would have been either by saving someone, or a tremendous kill on a hunt, or something that was a real act of bravery. You would sit in council and get to tell the story of what you had done. The council listened to how you had overcome your fear and moved into the place of “It’s a good day to die.” And, of course, when a person moves into that place, they’re invincible. If the council agreed with the story that you told—and they would feel the feeling of what you’re describing because the elders know what that is and can recognize it—then you would be awarded a feather, which would be a great honor.
T
he birds are the people that fly high and walk on the air. And, as such, there is
the ascension of spirit tied in with that. The eagle will fly higher than anybody, so it’s Dancer with feather Stick.
(Photo © 1993 George Ancona)
closer to the Great Mystery than any other creature on earth. That’s why the eagle
How can people earn feathers? Demon'
feather is so important.
strating an act of bravery by helping out in a
A feather—one feather—fits into a body
town disaster is a modern'day illustration of
of feathers. It’s just one part of a whole pat¬
how one could earn the right to wear eagle
tern. It’s fascinating to really work with a
feathers in their hair. In the old days, earn¬
wing, for example, or a tail, and to see the
DREAM CATCHER The Apache use owl feathers also. We use them as the “bringer of the dream.” Over the head of my bed I have a hoop—a circle again. It’s a woven spider web of sinew which is to catch the dream. I have the feet of the owl on the shield also. Between the feet, within the claws, is a bear fetish. The bear is the “keeper” of the dream and the spirit of healing.
50
TO LOOK THROUGH THE EYE OF THE FEATHER WOULD TAKE ME TO THAT PLACE OF VISION WHERE I CAN SEE WHAT’S REAL AND WHAT’S NOT Dancers.
(Photo © 1993 George Ancona)
beauty of how in the world that gets all fit¬
elders who were carrying the teachings
ted together to make a whole pattern. And if
didn’t have anyone to give them to.
you remove the one feather, you can’t see
W
the whole pattern in that one feather. That’s
hat is it like seeing the world through
the way we are—one feather. We do not see
the eye of the feather? Suppose that
the wing of the eagle of which we are a part.
you sight down a feather with all of those
But we know it. We can know that it’s so
kinds of things we’ve been talking about
and look for the patterns.
working in your heart. And you
look
When we get together with feathers in
through the eye—the lens—of the meanings
ceremonials or powwows, people will recog¬
of those things to return to the memory that
nize the person who can call power very
you’re searching for within yourself.
quickly. And generally stories get told. No
If you look through the eye of the feath¬
big drama. People are taught what someone
er, it would be looking at whatever it is—
else had got, to clear unconsciousness, and
myself or just reflecting on the nature of
they listen. Fortunately, some of the young
things and on the nature of being or what¬
people are beginning to listen to the elders
ever. To look through the eye of the feather
again, after a long time. A lot of the teach¬
would take me to that place of vision where
ings are lost already, because a lot of the
I can see what’s real and what’s not.
Child in traditional regalia with fan.
(Photo
©
1993 George Ancona)
RICHARD DORSON’S VISION
W
hen I was three years old, my
I work with all sorts of feathers, mostly
mother
an
legal feathers—from any bird that you can
Indian man. We up and moved
keep as a pet or hunt. I do occasionally work
got
remarried
to
out to his family place
with nonlegal feathers,
which was just a little
like eagle and hawk, if
ways from the edge of the
they’re brought to me by
Mescalero Apache reser-
someone who can legally
vation in southeast New
possess them.
Mexico. My stepfather’s
There are no univer¬
father was Mescalero. His
sal meanings to feathers.
mother was Navajo.
I
The meanings vary from
lived out there for the
tribe to tribe. I can only
first half of my life. My
speak from my under¬
step'grandparents
standing
were
of
it.
That’s
both traditional. One of
the understanding that
the things they did to
started with Navajo and
keep
of mis¬
Apache and has grown
chief—because I was such
as I have learned from
a precocious child—was
people of different tribal
to teach me how to do
extractions-based mostly
beadwork
around the Native Am¬
me
out
and how
to
work with feathers, which
erican Church. You
is a specialty of mine. I turn feathers into
Fan. Made with bald eagle wing; feathers tipped, with beaded and painted buckskin handle.
ceremonial objects like
(Courtesy The High Desert Museum, Bend, Oregon;
medicine bags and fans.
Doris Swayze Bounds Collection)
see,
I’m
in
a
rather strange position because I only have oneeighth Indian blood in
53
There are NO UNIVERSAL MEANINGS TO FEATHERS. The MEANINGS VARY FROM TRIBE TO TRIBE. Golden eagle. (Photo © 1993 by George Ancona)
me which is not enough to make a real dif¬
scout was a brother of the Locust people—a
ference to anybody. And yet, I’m also, all
humpback flute player. Now when the
humility aside, one of the best people around
people emerged into the land where they
who do what I do. Native people come to me,
wanted to live, they were met by the eagle
asking me to make things for them. Probably
who challenged them and said, “This is my
85 percent of the things I make are for peo¬
land. What right do you have to come here?”
ple in the Native American Church, who use
The people allowed as to how they didn’t
feathers extensively in their ceremony.
particularly have a right, but that they really
Working with eagle feathers is very spe¬
wanted to live there.
cial. Let me tell you a story to help you
So the eagle said, “I’ll tell you what. I’ll
understand the relationship between people
test you, and if you pass the test, then you
and eagle feathers. The story is quickest if
can live here. Who’s the bravest amongst
told Hopi style:
you?” And the scout, the flute player,
T
stepped out. The eagle said, “All right, Pm his is the fourth world. People emerged
going to take my bow and my arrow, and
through three previous worlds to get
Pm going to shoot an arrow into your eye.
here. They had scouts that led them. One
If you flinch or blink, your people have to
54 leave.” Eagle took an arrow, and he
brave. Your people have a right to
poked it real quickly at the flute
stay here. And to show my faith,
player’s eye and stopped just a hair’s breadth away. The flute player didn’t move. And the eagle said, “That’s good. You’ve got some bravery. Here’s one more test.” The eagle took his arrow, knocked it in his bow, and shot it through the flute player’s body. The flute player just stood there. Then he took his flute out. He played it, and the music was so beautiful and so sweet that he healed his wound.
You
can’t CHOOSE THE FAMILY YOU’RE BORN INTO, BUT YOU CAN CHOOSE THE RELATIVES YOU MAKE.
I’m going to let you use my feather, so that when you talk to the Creator, I—who fly the highest of all birds—will hear your prayers and carry them up to the Creator.” And that’s the basis for eagle feathers right there! Everything I learned, I learned in stories like that. I wasn’t just given facts. There’s a similar story that comes from an uncle of mine named Richard Deer Track out in Taos Pueblo.
The eagle was very impressed
Now let me explain a bit about
by this. So he said, “You’re very
relationships. Indians have two
San Ildefonso Pueblo Basket Dance, painting by Gilbert Atencio, 1959. (Blair Clark, photographer, courtesy Museum of Indian Arts and Culture/Laboratory of Anthropology, Santa Fe, New Mexico)
55
THE SUN DANCE Every feather from the eagle can be used. The “breath” feathers, the two longest down feathers from beneath the tail, are used in the Sun Dance. The down feathers are often tied to a whistle made from an eagle bone and wrapped so that they can be carried by the dancers as they’re dancing back and forth to the tree. The dancers use the down feathers to channel the energy of the dance into themselves and to gather the strength of the eagle, because the dance, whether it’s a piercing dance or not, is an ordeal. One way for male dancers to pierce is in the chest above the pectoral muscle. A slit is cut deep down to the muscle. Then a wooden skewer or eagle claw tied to a thong is run through the cut. The thong is tied to the central tree, and the dancer dances, pulling on the cord until he breaks himself free. It takes an incredible amount of strength and willpower to do this. You pierce, if you dedicate yourself to do that, for the good of your people. The Sun Dance is a renewal dance and it’s a sacrifice. You don’t really own anything. The stuff that you have around you is all very transient. But the one thing that you do own is your own will. So I view the Sun Dance as a sacrifice of your own will, your own intention. To do something that requires that amount of will is a giveaway of your will that the Creative Spirit notices. In a sense, YOU are the only thing that you have to offer. The piercing Sun Dance is a way of offering it. And it’s not done to inflict pain upon yourself; it’s done to give part of your will to a whole world, so that the world may benefit from it.
kinds of relationships—relationships by
a real bonding that comes with choice. And
blood and by adoption. And relationship by
that kind of relationship is taken very seri¬
adoption is in some ways more important—
ously. You don’t find Indians calling each
because you can’t choose the family that
other “brother” and “sister” unless they
you’re born into, but you can choose the reb
mean it in that way. And if they say it, then
atives that you make. So when I’m talking
they mean it, and they’re stuck with it!
about my “uncle,” my “father,” my “grandfa¬
My Uncle Richard said that when people
ther,” I’m mostly speaking of adopted family.
emerged into the world, they were met by
That kind of adoption is very strong. There’s
the Creator who gave them four things: corn
56
Peyote fan (flat fan). Water bird feathers (Anhinga). Beaded leather handle. From peyote set made by Robert Tall Bull, Southern Cheyenne. (Courtesy The High Desert Museum, Bend, Oregon; Doris Swa^e Bounds Collection)
so that they cotild feed themselves; tobacco
shield your face from the fire sometimes.
so that they could speak with each other in
They always have a practical side! The fan is
truth; eagle feathers so that they could talk
opened when you’re using it to cedar yourself
with him; and the earth itself to live on.
off—using cedar smoke from needles that
T
have been thrown into the fire to purify yourhe way a feather is worn varies from tribe
self—or when you’re singing.
to tribe. Feathers are often carried in the
When you’re singing in Native Ameri¬
form of fans. The number of feathers depends
can Church, you’re usually kneeling on the
on the fan. A good eagle tail fan, for example,
ground. In one hand, you have a fancy gourd
has twelve feathers which is the full set from
rattle. In the other, you’re holding a staff, a
the tail. The traditional way that I know of to
bundle of sage, and—if it’s after midnight—
make an eagle tail fan is so that it will open
you’re holding your fan. The fan acts in
and close just like the bird’s tail does. Some
some ways like a radar dish that broadcasts
people make them so that they don’t move.
the prayers that you’re singing up into the
Tail fans are used mostly in doctoring and in
Creation.
Native American Church meetings to con-
Native American Church is pan-tribal.
nect you with the power of the bird—and to
Ceremonies are usually held once a week,
57 and they last: all night. You sit on the ground in a teepee or a hogan
or
you
have
“brush”
meetings. If you’re too poor to afford a teepee and you’ve got no place to hold a ceremony, you sit out under the stars in a little brush arbor. It requires great will and intention to get through the night. The purpose of the Native American Church is to be in touch with the Spirit. Meetings are only held for specific purposes: like if somebody needs a blessing, somebody’s sick, somebody’s kids are going off to school, somebody’s
born,
somebody
dies. The feather is used to communicate—to call for the Spirit. The water bird, also called the “water turkey” or “snake bird,” is one
of the
symbols
of the
Church. It is the spirit force that acts as an intermediary between the Creator and the people. The
altar
of the
Native
Peyote fan (drop fan). Ten feathers with beaded quills. Each hawk feather moves individually. Beaded buckskin handle. Made by Henry Thompson for his father, Chief Tommy Thompson, last of the traditional salmon chiefs at Celilo, Oregon (Wyam). (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
American Church, in most cases, is a low crescent moon made of earth. The
an eagle or a water bird, depending on the
opening of the crescent faces the east towards
particular branch of the Native American
the door of the teepee. The fire is built at the
Church.
horns with logs that are crossed at one end so
The water bird feathers used in the cer-
they form a V. Through the night the fallen
emony are usually made as a flat, fixed fan of
coals and ashes are moved very carefully into
tail feathers. The feathers are brown, with
the moon. By morning, the fire person will
white tips and darker markings in them.
have shaped the glowing red coals into either
They look almost like turkey feathers, only
58
Peyote fan (drop fan). Water bird feathers (Anhinga). Beaded leather handle. Gift from Nora Spanish (Blackfeet) to Doris Bounds. (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
they’re stiffer and they’re corrugated, with
eagle the chief of all the people because he
ripples. When you wave the fan, if it’s well
flew the highest. They made the bear the
made, the ripples brush against each other
war chief because he had great strength.
and make a squeaking sound. That’s consid¬
And they went through and they gave
ered the sound of the bird’s cry. Fans with
everybody different tasks to do. Then they
these feathers are dipped in water and then
said, “Who shall be our doctor? Who shall
sprinkled over people in blessing.
take care of us when we’re sick?” They
All sorts of other feathers are used by
thought about it, and finally they gave that
Native people, even hummingbird feathers.
task to hummingbird. Because he, of all the
Let me tell you a story again:
people, knows the herbs best. Because he
B
drinks from all of the different flowers. ack when the world was in the emer¬ gence time, all of the different people
So hummingbird feathers are used in doc¬
got together and appointed different ones of
toring by the medicine people. Hummingbird
them to fulfill different tasks. They made the
feathers are considered to be extremely
59
Humming¬ bird FEATHERS ARE CONSIDERED TO BE EXTREMELY POWERFUL, EXCEPTION¬ ALLY POTENT, ALMOST MALEVOLENT ENERGIES.
Dance bustle. Trimmed turkey feathers with fluff tips. Common flicker tail feathers on leather rosette, twenty'four-inch diameter (Umatilla). (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
powerful,
exceptionally
potent,
almost
somebody—that killed. It’s that they were
malevolent energies. Every now and again,
powerful. When medicine people got together,
you’ll see somebody who has a fan made
they used to do this to each other just to test
from a hummingbird’s tail. It’s a tiny thing,
each other’s medicine. It was considered if you
usually made very delicately with very fine
put yourself out as a medicine person and you
beadwork. I’ve made three of them in my
didn’t have the strength to take care of some-
lifetime, and they’re exquisitely beautiful.
thing like that, then you might as well be dead
Then there are flicker feathers. Those are
anyway—because at least then you wouldn’t
also doctoring feathers, but they aren’t quite so
be hurting anybody else!
benign. In the old days, people made a “flicker
Today, flicker feathers are used in doctor¬
arrow” by taking a flicker tail feather which is
ing. You don’t see many people who use them,
very sharply pointed at the end, biting off the
because they’re considered to be a very potent
point and spitting it into their enemy’s body to
medicine. It’s mostly the elders who have
kill him. It wasn’t their sharpness—the physical
them—people who have learned a particular
part of the feather that they were shooting into
kind of doctoring to be done with them.
60 For round, or “drop” fans, I usu¬ ally use macaw or roadrunner feath¬ ers—long, thin kinds of feathers. I I
also use the scissor-tailed flycatcher, a small bird whose tail feathers can be twelve inches long. The feathers have a black tip and a white body, but the white is oftentimes tinged with a very faint pink. Drop fans are used a lot in singing, especially in the
Native
American
Church.
They’re cylindrical in nature when they’re held, but when you start singing you let them drop open, and they explode like a starburst. The feathers drop open in every which direction. It’s incredibly difficult to describe the technique of making fans, but I’ll try to break it down a little. • Cleaning: When I get feath¬ ers, they’re usually loose. I clean them with warm water and mild soap and either air dry them or use a hair dryer, which keeps them from wrinkling up.
Fan. Tundra swan tail feathers. Handle wrapped with otter fur, horsehair drop.
• Preservation: Feathers don’t
(Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
need much in the way of preserva¬ tion. They last. If I have, for exam¬
Every bird has its own meaning, its own
ple, a bunch of macaw feathers, I’ll seal
medicine, its own way of being used. As a fan-
them in a plastic bag so that moths won’t
maker, I use feathers from all different kinds
get to them. People usually keep their feath¬
of birds. I make three basic kinds of fans: wing
ers and fans in a cedar box so that bugs don’t
fans, which are made from the wing of the
get on them.
bird, and tail feather fans, which are made in two ways—-flat like a bird’s tail or round.
• Selection: Usually when somebody comes to me to make an object, they give me
61 a selected set of feathers to work with. But if I’m making something that’s not commis¬ sioned, I’ll select feathers for aesthetic reasons, like they go well together, or they’re all the same type, or because of their size. There are some kinds of feathers that you don’t mix, like hawk and owl, because the two birds don’t get along. Hawks kill owls. I wouldn’t put together feathers from any two birds where one would prey on the other. • Materials: I use hardwood, white leather, and Czechoslo¬ vakian seed beads. The hard¬ wood is for the handle. The leather wraps the handle and feathers and makes the fringes. The beads decorate the handle. • Process: The feathers are attached by tying them on. You can either tie them on with leather, or I use dental floss! It’s very strong and it
Peyote fan (drop fan). Scissor-tailed flycatcher feathers, ring-necked pheasant tail feathers, and commercial feathers. Beaded handle with leather fringe. (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
doesn’t show. It’s a trick I learned from an Indian elder, actually. I wrap
bags are only for medicine people. If the per¬
the dental floss around the feather onto the
son has an affinity for a particular bird, I’ll
handle. I cut the fan and put the feathers on
use that feather on the bag because it has
in a very special way. Then I bead the handle
special meaning for him or her. The signifi¬
and put fringe on the bottom. But this
cance of feathers on pipes depends on the
doesn’t nearly describe the process!
tribe. If you have an eagle feather on your
Besides fans, I put feathers on medicine
pipe stem, you would have to be a person
bags, pipe bags, and pipe stems. Medicine
worthy of that. You don’t do it yourself.
62 Somebody will do it for you. If you have an
to two hundred dollars for a set of eagle tail
affinity for a hawk, or if you’ve seen it in a
feathers, people are motivated to go out and
vision, you might put a hawk feather on your
shoot eagles. Even so, you know what kills
pipe stem.
most eagles in the United States?
The significance of using a bird’s feather has very little to do with the feather itself. It has a lot to do with your relationship to the bird—to its spirit. So you could say that everything has two forms. You have the regular animal form, like the hawk, and the spiritual form of the hawk, which is, in some ways, completely different. One way to think of it is if you have a particu¬ lar spiritual affinity for a bird, then if you have the bird’s feathers you are somehow in contact with the bird’s spirit. Say you went on a vision quest and an eagle came to you in your vision and told you it was going to be your buddy. It might instruct you to go out and find an eagle feather so that you can maintain contact with it. That would be why you would have a feather—not because it’s pretty or decorative. The way I feel about working
Electrocution gets a lot of them.
The signifi¬ cance of USING A bird’s FEATHER HAS VERY LITTLE TO DO WITH THE FEATHER ITSELF IT HAS A LOT TO DO WITH YOUR RELATIONSHIP TO THE BIRD - TO ITS SPIRIT.
Road kill gets some. A lot of eagles, especially the bald eagle, which is a carrion bird like a vulture, has nothing against swooping down and eating something that’s been hit by a car. And while it’s there, the eagle itself might be hit. Aside from sort of natural causes like electrocution and road kill, the largest way eagles are killed is that they’re shot by ranchers and fann¬ ers who are under the misappre¬ hension that eagles go after their stock, which is usually not true. Many farmers and ranchers leave the eagle lying in the field. Native Americans don’t have to go out and kill eagles. If they’re registered with their tribe as tribal members, they can apply for per¬ mits from the Fish and Wildlife Service to be granted feathers from the “feather bank” and given legal permission to possess them.
with feathers is that I’m not upset¬
The feathers come from birds that
ting any ecological balance. I don’t
have been
injured and subse¬
go out and snuff birds for their feathers. I use
quently died, or were killed by poachers
live feathers—feathers that the bird natural¬
and confiscated, or died of natural causes
ly molts off. A lot of Native people do that.
and were found and turned in and restored.
But there is a black market in feathers,
It’s a nice service that prevents more birds
and it’s a bad thing. Because by getting one
from being killed.
63
Traditional dancer. (Photo © 1992 George Ancona)
ALBERT WHITE HAT, SR.’S, VISION
I
’m a member of the Rosebud
talking about creation, I’m talking
Sioux Tribe, bom and raised
about all creations on earth—and in
here on the Rosebud Sioux Reservation. I’m an educator, involved in the subjects of Lakota tribal history, culture, and philos¬ ophy. I teach the language and oral history, and I sing for medi¬ cine men in ceremonies. I want to make it clear that I’m not a medicine
man
or
a
spiritual
leader, but I feel that I’m doing what
every
Lakota
member
should. We must have the knowl¬ edge of our language, history, and culture in order to practice the Lakota philosophy. Our concept of God is that
We
must HAVE THE KNOWLEDGE OF OUR LANGUAGE, HISTORY, AND CULTURE IN ORDER TO PRACTICE the Lakota PHILOSOPHY.
the universe. To us, God has many parts and all these many parts make one God. We don’t have a word for animal in our language. We address other creations as “relatives” or “nations,” such as “Eagle Nation” and “Coyote Nation.” This is how we work with whatever
material
we
use
from
another nation. We have to show them that respect and ask for forgive¬ ness if we take something from their nation for our use. The eagle feather comes in that form. To us, the eagle feather is part of the dress, part of the make-up of the
God’s spirit is in all creations.
eagle. The eagle is a very powerful
The evil that Christianity talks
messenger for us to all creation for
about—Satan, the devil—that concept is
our needs, whether it’s health or help or pro¬
also in every creation. Whatever is created
tection. So in taking a feather from the
has both good and evil in it. So we have this
eagle, we ask for permission. We believe that
very simple philosophy. In prayer we say,
the feather is very special because of the sta¬
“All My Relatives.” This is how we acknowl¬
tus of the eagle. We use it in ceremonies like
edge the existence of God. And when I’m
the Vision Quest and the Sun Dance and
65
Traditional dancer wearing head roach.
(Photo © 1992 George Ancona)
Traditional dancer with head roach and bustle.
(Photo
©
1992 George Ancona)
part of the outfits or costumes that we use for
dancing.
each ceremony.
who may use eagle feathers, grass dancers
We have a lot of different costumes. I’m
We have traditional dancers
who use very few feathers,
and fancy
a traditional dancer and I create my own
dancers. The young athletic men are
designs. Each dancer designs his own cos-
usually the ones who do the fancy danc¬
tume and the designs all have a purpose.
ing. It’s very fantastic dancing with a lot
Whether the eagle feather is used in a
of acrobatic movements. The fancy dancers
costume is the individual dancer’s preference.
use turkey feathers or colorful bustles.
For example, some dancers wear a head roach
They don’t use eagle feathers. Some fancy
with two feathers on it; others do not. If a
dancers wear bustles that are made out of
dancer uses the eagle feather, it is always for
owl feathers or hawk, feathers. But what¬
a reason—the individual’s reason.
ever feather you use, you show respect to
There are different categories of men’s
that nation.
If
you’re GOING TO DO a Vision Quest YOU REALLY SHOULD PREPARE AT LEAST FIVE YEARS, BECAUSE YOU NEED TO UNDERSTAND WHAT THE RITUAL IS. Fancy dancer.
(Photo © 1992 George Ancona)
The women also have different cate¬
deer, or an eagle. When that happens, it tells
gories of dancing, but women use eagle
you that somebody is listening to and
plumes, not the feather. Both men and
acknowledging your prayers. We believe that
women can participate in the Vision Quest
the presence of the Eagle Nation, the
and the Sun Dance.
Coyote Nation, helps us in addressing the
For an ordinary person like me, the
Whole Creation to answer our prayers. We
Vision Quest is a time of reflection, a time of
use the eagle feather as a way of asking the
inner search, a time of analyzing my life—
Eagle Nation to protect us while we’re up
finding my weaknesses and my strengths—so
there on the hill for the Vision Quest and
that I can use my strengths to work on my
also to help us with our prayers.
weaknesses.
You need a sponsor for the Vision Quest,
Sometimes in the Vision Quest, you see
so you approach a medicine man. Each med¬
an animal of some sort present—a coyote, a
icine man has his own designated area for
ORIGIN OF “SIOUX” here are nine Sioux reservations in South Dakota, North Dakota, and Nebraska. The only difference among the divisions of the Sioux Nation is that we have three different dialects-L, D, and N. Otherwise, we understand each other. We identify each other by the dialects we speak. I’m Lakota. The other groups are Dakota and Nakota. I call “Sioux” a French plural at the end of a Chippewa (Ojibwa) word. Originally the Chippewa word was Nadowessi-meaning a “snake” or “deadly snake.” That’s what the Chippewa used to call us. The Dakota dialect and Chippewa continually harassed each other-not major wars or anything, but trying to outfox each other in certain things, such as trapping. Unfortunately, the anthropologists called it “Indian Wars.” It was not! It was just a little dispute or competition. Anyway, when the French trappers came into the Great Lakes area—Wisconsin, Minnesota, and up into Canada-during the 1600s (after they used up all the furs or the pelts they could get in other areas), they moved further west and ran into the Dakota dialect. And they asked the Chippewa, “Who are those people?” The Chippewa said, “They’re Nadowessi. Stay away from them.” In French, to make some words plural, you add “-oux.” Eventually the first part of Nadowessi fell out and just the word Sioux came up.
the Vision Quest. Fie might say, “Well, I
least five years, because you need to under-
have this hill and that’s where you should
stand what the ritual is. And then you do
go.” Or, a medicine man will allow you to
the final preparations for one year.
pick the hill that you want to fast on. Fie
The final preparation is your psychologi¬
might say, “You pick your hill and I will take
cal preparation and your physical condition.
you there.”
During that year, for example, you periodi¬
The “vision” you’re seeking is really
cally fast for a day or abstain from liquids for
inside of you, and you fast as long as you feel
a day, just to get used to that feeling. When
you can handle it. If you’re going to do a
the time comes, you decide how long you
Vision Quest you really should prepare at
can last, and that’s the time you do for your
69
70 Vision Quest. It’s anywhere from one to four
crown made of sage. Sometimes we make a
days. You go through a process. Then the
medallion and tie an eagle plume onto it.
medicine man will take you up on a hill and
An eagle plume might also be tied onto a
leave you there. When you go, you say you’ll
whistle. You wear the medallion and the
do it for a night and a day, or two nights and
whistle with the feathers around your neck.
two days, and when that time comes, the medicine man will come after you.
Each medicine man is a little different from the others. They have a little different
You take the eagle feather with
process all going towards the same
you on a Vision Quest, plus tobac¬
goal. And the Lakota Sun Dances
co and other offerings to the spirits. You hang the feather on a pole and usually also tie a feather on your pipe. The type of offerings depends on what the medicine man tells you to take. The eagle feather is also used in our Sun Dance. You must have a purpose to do the Sun Dance. You might make a prayer asking help for somebody’s health—a loved one. If you want a loved one to be healed in a ceremony, you might say, “You heal my loved one and I will do the Sun Dance.” The Sun Dance is a way of returning that favor. You fast during the Sun Dance. It’s optional whether you pierce or not. I have
Feathers are GIVEN TO HIM REP¬ RESENTING HIS VIRTUES OF GENEROSITY, FORTITUDE, COURAGE, AND BECAUSE HE’S REACHED THE AGE OF WISDOM.
pierced. The Sun Dance is a year’s
are like that. Each one is run by dif¬ ferent leaders. If somebody wants to dance, I encourage them to go to other Sun Dances and watch and pray and then decide which one they’d feel comfortable dancing in. The Sun Dance has come back real strong. It was underground all these years. Our whole philosophy was—because it was outlawed! 'The movement in the late sixties finally forced the government to give us the freedom, of Indian Religion in 1978. A lot of the rituals are com¬ ing back.
I
want to mention another mis¬ conception that some anthro¬
pologists
have.
They
call
the
feather bonnet that the leader
preparation. Myself, I studied for four years.
wears a war bonnet. That’s a wrong descrip¬
Then I made a pledge and did the final
tion of it. I think the title “war bonnet”
preparations for a year.
really comes from Elollywood. If a man
If you use eagle feathers in the Sun
earns the position of leadership and respon¬
Dance, you ask the Eagle Nation to help
sibility, those feathers are given to him rep¬
you. Some people use two eagle feathers and
resenting his virtues of generosity, forti¬
put them, on either side of their head in a
tude, courage, and because he’s reached the
71
Traditional dancer.
(Photo © 1992 George Ancona)
Feathered bonnet. Remade in mid-twentieth century from
Feathered bonnet. Thirty tail feathers from
older bonnet. Thirty-three eagle tail feathers tipped with,
immature eagle, tipped with red fluff.
eagle fluff. Ermine brow band. Belonged to Chief
Beaded brow band with rosettes
Tommy Thompson ofCelilo, Oregon (Wyam).
and ribbon streamers (Cayuse).
(Courtesy The High Desert Museum, Bend, Oregon;
(Courtesy The High Desert Museum, Bend, Oregon;
Doris Swayze Bounds Collection)
Doris Swayze Bounds Collection)
age of wisdom. So the feather bonnet really
workings of that power. So there is no mys¬
represents the virtues of the Lakota people,
tery or magic in our philosophy. We don’t
the concept of All My Relations. It doesn’t
use substance to reach a certain level.
represent war.
Everything we do, we do without any aid,
Everything the Lakota Sioux do relates
without any kind of drugs or medicines. We
to the All My Relations concept. People
do it with a clear mind and physical strength
really need to understand that concept to
or ability. And this way, whatever we
understand what our symbols represent.
achieve, we know we’ve done it ourselves.
Our concept of God is the most impor¬
Many of us who have grown up on the
tant thing—that all creation is one God.
reservation have been practicing these ritu¬
We don’t have a word for Great Mystery.
als for years, and we’re still learning about
Because of our concept, we understand the
them. It’s a way of life.
73
Fancy dancer. (Photo © 1992 George Ancona)
SANDRA BLACK BEAR WHITE’S VISION
I
am a Lakota Sioux song and
dancing. The costumes we make
dance instructor at the college
don’t
on the Rosebud reservation in South Dakota. I also teach arts and crafts—mostly outfit making. We use feathers in the outfits that
we
make—mostly
turkey
feathers, owl feathers, and hackles from roosters. These feathers are mainly for men’s costumes in social dancing. The number of feathers used for decorations depends on the kind of outfit you want. Most fancy dancers have colorful costumes made of turkey feathers—the white or black turkey feathers— and all the colored hackles. We do a lot of tying, gluing, and taping of feathers onto different materials. We use feathers if we think they’ll
We use FEATHERS IF WE THINK THEY’LL LOOK GOOD ON OUR OUTFIT OR LOOK GOOD ON US BECAUSE OF THE WAY WE’RE DANCING.
involve
eagle
feathers.
Traditional male dancers who use bustles of eagle feathers have to get their own feathers. We also make a lot of women’s costumes—jingle
dresses,
shawl
dance costumes, and traditional dance costumes. The jingle dress is made of cones set close together and decorated on different colors of material. They make a noise, so when the women are all dancing it sounds like jingles. Feathers aren’t used on jingle dresses. For the fancy shawl
dance
costumes,
women
wear beadwork on their capes, leggings, hair ties, and moccasins, but feathers aren’t attached to these costumes either. The traditional
look good on our outfit or look
dancers
wear
buckskin
good on us because of the way we’re
trade cloth dresses.
dresses,
75
Fancy dancer.
(Photo © 1992 George Ancona)
77
Fancy Shawl dancer. (Photo © 1992 George Ancona)
78 In our tribe the only time you
I remember when we were little,
can get a feather is when you earn
we got to wear one eagle feather
it. You must have an achievement or be given a feather through other ceremonies. Women get feathers from achievements like graduating school or being in the service. We get feathers when we go through puberty. When you’re twelve years old, you go through an adoption ceremony where you get an eagle plume tied on you, and you’re permitted to keep it. An adoption ceremony is held when our parents want to honor us or think it’s time that we start learning more as becoming adults. We’re adopted by someone who can be a good role model for us. From then on that relationship continues, but we must do our share. When we go through the adoption ceremony, we have to give something of value. Most of the time it’s a big giveaway to show that from then on we have the right to wear our feathers. If we don’t do that, our elders tell us we can’t wear the feathers. Women are only allowed to wear eagle plumes. They’re worn on the left side of the hair and are usually put on a medicine wheel which is tied on the top of
In
in the headband,
sticking up.
our TRIBE THE
These feathers came from our
ONLY TIME
gave us the right to wear them—
YOU CAN GET A FEATHER IS WHEN YOU EARN IT. YOU MUST HAVE AN ACHIEVE¬ MENT OR BE GIVEN A FEATHER THROUGH OTHER
uncle or big brother veterans who but we had to return them after the dances. If you’re a Lakota man, you can get an eagle feather from any achievement. You can wear two eagle feathers on top of your head no matter what kind of a dancer you are, as long as you are a war¬ rior from the warrior society. This means that you are someone who is going to school to get an edu¬ cation and degree, someone who is working hard, someone who’s providing for a family, someone who is in the service and has helped the country, someone who is always helping the people. You
CEREMONIES. Women get
get recognition for your achieve¬
FEATHERS FROM
Receiving the feather has prayers
ACHIEVE¬ MENTS LIKE GRADUATING SCHOOL.
ment so people agree that you should wear the eagle feather. and songs behind it. Then you must always help the people, in general, to let them know you have gained the right to wear an eagle feather. You have to be humble and helpful. As a woman, I don’t feel it’s
your head. Most of our male tradi¬
unfair that we don’t have the same
tional dancers wear eagle feathers.
use of feathers as men. I wear eagle
79
Fancy dancers with plumes attached to Medicine Wheel on heads. (Photo © 1992 George Ancona)
80
81
Fancy dancers.
(Photo © 1992 George Ancona)
plumes and my kids wear eagle
women now who pierce, but not
plumes. I made sure they got their
the way men do.
Indian names when they were young and that they all went
I
We never bothered to interfere
WAS BROUGHT UP THE REAL TRADITIONAL WAY BY MY PARENTS.
with the opposite sex, because we
Now I’m
through the adoption ceremonies. The men’s teachings are a lot different from the women’s. I tried to learn as much as I could when I was growing up. When my parents were teaching us a lot of these things, my mom did it for the girls and my dad did it for my brothers.
had our own roles to play. What is the woman’s role in the Sun Dance? It used to be that women only danced on the outside. The only time the women could dance was to honor or support their male relatives. Now, because there are a lot of women who lead single lives or who work just as hard as the men, a lot of that has changed. We can participate now because it’s a time of prayer. It’s a time of giving yourself or making sacrifice or praying. There are rules, and you have to learn a lot in order to be a part of them. I have participated as a dancer in the Sun Dance. I wear my eagle plume for this sacred cer¬ emony. I help out the women. The fasting is usually four days and
PASSING THE Lakota CULTURE ON TO MY CHILDREN.
WE NEED TO TEACH OUR KIDS SO OUR CULTURE WON’T BE LOST.
Women usually
pierce on their arm. As a traditional dancer and a singer, I travel all over the United States for powwows. I see a lot of things I disagree with in the pow¬ wow world. People are really mis¬ using eagle and hawk feathers. People
are
wearing
too
many
feathers. A lot of men wear them even when nobody has given them the right. There are even kids wearing whole tons of eagle feath¬ ers that they’ve never achieved. In our rules, a lot of teachings come behind
the
eagle feather—like
bravery, wisdom, fortitude, gen¬ erosity. If people don’t honor these traditions, they don’t have a right to wear eagle feathers. I was brought up the real tradi¬ tional way by my parents. Now I’m passing the Lakota culture on to my children. We need to teach our kids so our culture won’t be lost. That’s what I’m aiming to do. I’m teaching a lot of the younger kids on the reservation, even though I’m also teaching at the college, because I think they learn quicker and can carry on our traditions. I teach them singing and dancing and outfit making, stories, different
three nights. It used to be that
rules and value systems—to keep
women did not pierce. I know
our culture alive!
83
Young dancer in headgear. (Photo
© 1992 George Ancom)
DAVID WHITE EAGLE TREE S VISION
Cherokee is my affiliation. I
the unknown and find the truth that
was bom in Southern Colorado in
is hidden in darkness there. It is
the Rocky Mountains. My fami-
Owl
called “the night eagle” because of
ly—my mother’s side comes from
FEATHERS ARE THE MOST IMPORTANT PART OF THE u DREAM V BUNDLE.
the power that’s attributed to it—
the South; my great-grandmother was part of the Cherokee Nation in Alabama. Her husband’s family was
from
are
Mississippi.
currently
two
There
bands
of
Cherokee—the Eastern band in North Carolina and the Western band in Oklahoma. When you’re talking feathers, you’re talking quite a lot of differ¬ ent perspectives. For example, to some
tribes
the
owl
is
“the
bringer of death.” But to the Cherokee
and
up
into
the
Algonquian tribes, the owl is considered to be a favored, pow¬ erful, and sacred bird. Some of
Hawk
wisdom and bringing the dream. It was recognized among all tribes that there were basically two worlds: the world that you were awake in and the world that you were awake to dream in (the other world). You would sleep between worlds and wake up in one or the other. When someone who was a powerful dream¬ er would go into the dream world, they would meet the spirits behind
FEATHERS ARE ALSO USED IN THE DREAM BUNDLE.
different animals and plants and be able to receive teachings from them. In the Cherokee tradition, the old legend is that all of the ills of humankind were given to us by the animals. All the cures were given to
that comes from the old story you
us by the plants. One of the things
hear as a kid about the wise old
Owl did was tell the plants what was
owl.
going on. The plants decided to
That
came
from
the
Woodland people. The owl has the capacity
counterbalance the action of the animals.
to fly into the darkness, into the void, into
Here’s the way the legend went:
Ill
85
THE TRAIL OF TEARS In the 1830s, Georgia’s legislature sent missionaries into the mountains of Georgia. Gold had been discovered there in 1828 and settlers were pressuring the government to open up Cherokee land for farming and mining. The missionaries named and wrote down descriptions and locations of all the different tribal people and how much land they held. Later, the Georgia militia and vigilantes came in. They knew exactly where to go to find the tribal people, and they rounded them up. The soldiers put the Cherokee people in stockades. Then they packed the people in wagons and made them cut their own trail all the way across the country into Oklahoma. The Cherokee peo¬ ple had to go down through Mississippi through all those woods and swamps. They had to cut trees and lay them down for the wagons to be able to get through. This is one reason why so many people died. About fourteen thousand people were relocated and over four thousand perished on the trail. That’s why they called it the “Trail Where the People Cried” or “The Trail of Tears.” There are many similarities between what was done to the Cherokee and what was done to the Navajo by Kit Carson.
T
games between plants and animals—in here was a point in time when human¬ ity got a larger population. People had
lost their balanced way of relating to the earth. It got displaced. And it began to prey on the animals in an unbalanced way. The animals finally got tired of it, so they held a conference in the woods under a
order to help people to be able to walk in balance. Of course, the owl became one of the teachers of the people to bring them in balance with how to work with the animals in such a way as to not stir up their animosity. And it did it by bringing the dream!
hemlock tree. They decided that they were going to come up with different ills that
Owl feathers are the most important part
they would visit on humankind for all their
of the “dream bundle.” Hawk feathers are
greed. The owl happened to be sitting up
also used in the dream bundle. The hawk
in the tree and heard about it. So the owl
feather is the “messenger of the spirit” and
and the tree passed the word on. The cedar
helps choreograph energy. For a dream bun¬
called the council of the plants. They
dle there are some fetishes involved, also
decided to create these offsetting forces’
thread, yarn, cloth, and whatnot. The
86 bundle is placed over your head, or over the
pate. If you use a small feather on it, you’ll
head of your bed, in order to focus energy for
hold that energy in place.
the dream and to connect your intent. You
When I do a sweat, I use feathers from
create a kind of spiritual magnet, and it is
four birds on four poles in the four direc¬
your intent that is the force in the magnet¬
tions—eagle in the east, owl in the south,
ism. The dream bundle is the
raven in the west, hawk in the
object that holds that magnetic
north. The sweat lodge is basically
force to draw in. The first medicine owl that 1 got woke me up in a dream three times. It told me to go look. And I found it where it had been hit on the road that night. A medicine owl means an owl who has come to me in a medi¬ cine way—whether it’s an elder who gives it to me in a ceremonial way, or in this case, where the owl gave itself to me in a dream. My owl is really special. People have seen it coming around when I do pipe cer¬ emonies sometimes, because I use its feathers. I use its feathers for cleansing—whenever I am trying to remove negative energy. I have
a place for purification and prayer.
The
And there’s a whole alchemy of
first MEDICINE OWL THAT I GOT WOKE ME UP IN A DREAM THREE TIMES. IT TOLD ME TO GO LOOK.
energy that goes on in creating a sweat place. If you’ve got a dozen plus people inside a lodge releasing physical, mental, emotional, and spiritual toxins, then you have to have your magic, your alchemy, pretty well orchestrated in order to deal with it and be able to dissipate and carry away the residual spiritu¬ al wastes. And, of course, the four powers are basic to Native Americans in dealing with that: the four directions, the four comers of the world, the four elements. The number four is a com¬
its tail and its wing feathers, and I
mon basic. It’s the axis of the world,
use its back and belly feathers on
signifying earth, the four major pow¬
fetishes and on my shield.
ers of the world, the four major powers of our
I preserved the owl by drying it with salt
experience. Each of those four directions is a
and borax. Most time the feather is really
point on the Medicine Wheel that stands for a
stable, because it doesn’t have any fat on it.
certain thing: matter, water, air, fire.
Basically, all you do is wash it, depending on
So when you’re creating a ceremony, you
the condition it is in when you find it. If the
want to create a place of balance where the
feather is split, you take a smaller feather
four powers meet in equal power. And
that’s whole and glue it to the split feather in
because it’s a spherical situation, you have
order to preserve its power, because if a
the earth above and the soul below. You’re
feather is split, then its energy starts to dissi¬
the center, which is the seventh power.
87
Dancer wearing headgear and bustle. (Photo
© 1993 George Ancona)
r
88
Headgear.
Great Homed Owl.
(Photo © 1993 George Ancona)
(Photo © NYZS/The Wildlife Conservation Society)
The feathers call in, or hold, the energy of
same type of breathing mechanism, rudimen¬
the different powers for the Spirits as messen-
tary gills, the whole nine yards. And as it
gers. We consider all of the animal kingdom
grows and changes, we go through all these
as basically our teachers. We draw upon their
different forms that you can find mimicked or
powers or their attributes to help us be more
mirrored in all the different kingdoms in
balanced. One way of looking at the human’s
nature—from the first cellular joining of the
relationship to the world is that humans are
sperm and ovum all the way through the
the accumulative total of all the creatures of the
growth and death cycle of a human being.
earth. We have within us the eagle, the hawk,
You find an echoing of life’s evolution on this
the turtle, the buzzard—everything. If you
planet and all of its forms.
look at the fetus as it is growing, it has the
Looking at this integration of all levels
make-up identical to that of the shark—the
creates a whole new perception of human’s
89 relationship to the world. And it is because we
The whole Blessing and Awakening cer¬
haven’t maintained the awareness of the inte¬
emony is done after everything is cleansed. I
gration that the world is in the state that it’s
use both eagle and macaw. The eagle is used
in. Using the animal medicine, whether it’s
as an awakener. We use the eagle feathers to
feathers or talons, or skins, or bones or teeth,
bless and awaken all objects. The macaw is a
is our way of connecting with aspects within
bird of great beauty. I use macaw feathers as
us and calling those powers forward-
the blessing fan. That imparts what¬
so that we can accomplish whatever
ever blessing it is to whatever is
it is we need to accomplish in this world, to bring things into some sense of balance and survivability.
T
he beginning of any ceremony is “to make sacred.” We usual¬
ly use sage because it’s the strongest cleansing herb. We bum it to get it to smolder. Then we spread that smoke around whatever ceremoni¬ al object we’re using. We bathe it in smoke. When we use the feather to “sweep the smoke” through the object or through the aura, we’re using the power of that feather. Different feathers have differ¬ ent powers. When I do a blessing or
When we use THE FEATHER TO “SWEEP THE SMOKE” THROUGH THE OBJECT OR THROUGH THE AURA, WE’RE USING THE POWER OF THAT FEATHER.
being cleansed and awakened. The same thing is done with people before they go into a Lodge of Purification. Different people use different fans. Some people use eagle, some owl, some hawk. I’ve used condor and peacock. I haven’t used turkey in the sweat. But I have individual turkey feathers, and I have turkey feathers on my shield, because turkey is a very special bird. Ben Franklin wanted turkey for the national bird. We call turkey “the Earth Eagle.” It’s basically a provider. It provides more on a physical level, which is very different from the eagle, which provides on a spiritual
awakening ceremony, I use three
level. The owl provides on the spiri¬
different sets of feathers. I use owl
tual level, but in the dream way.
to do my smudging and clearing. My blessing
The number of feathers we use varies
and awakening is done in two phases—Earth
tremendously, because every number has a
Mother
and
certain power. Among the Cherokee, you
Awakening is a specific ceremony for any¬
have certain numbers that are more signifi¬
thing from cleansing or blessing a house
cant than others. Seven is probably the most
to medicine objects. I do Blessings and
powerful number among the Cherokee peo¬
Awakenings on pipes and different objects.
ple: seven clans, seven basic ceremonies in a
It’s a way of making sacred and making it
person’s life, seven days in the week, seven
available, activating it.
sacred mountains.
and
Sky
Father.
Blessing
It’s the most sacred
90
Eagle wing FANS USED IN HEALING ARE VERY POWERFUL* You USE PRIMARILY THE SEVEN FINGER FEATHERS OF AN EAGLE WING*
Headdress/split-horned bonnet. White ermine crown with three loose feathers carved in patterns. Three full ermine skins hang in back; three ermine strips on each side. Large buffalo horn cut in half on each side. Recently made (Yakima). (Courtesy The High Desert Museum, Bend, Oregon; Doris Swayze Bounds Collection)
T
number. Then there are the twelve planets
from Sun Dancing to counting coup in bat¬
that have human life that are part of our lin-
tle to overcoming a serious limitation can
eage, our tradition. There are the twelve
earn a feather. My owl fan is made up of thir¬
elders that make up the primary council. You
teen owl feathers that were on the .owl’s tail.
look at the thirteen moons of a year.
Thirteen, to me, is one of the most powerful
How do feathers fit into these numbers?
of all numbers.
Some of it is just tradition. You carry a feath¬
Eagle wing fans used in healing are very
er for certain things that you do. You get to
powerful. You use primarily the seven finger
wear so many feathers based on how many of
feathers of an eagle wing. The pointer
these actions you have performed. Anything
feather is the longest tip feather. There’s one
91
Traditional dancer.
(Photo
©
1992 George Ancona)
92 Chief the ceremony to receive the flame. I got a Cherokee grandmother and her hus¬ band to be the grandmother and grandfather and a couple of young people to be the chil¬ dren. The Cherokee always try to be mindful of seven generations back and seven genera¬ tions forward. When we gather herbs, or hunt, or anything like that, it’s always the Law of Seven that is applied. We pass the first seven plants, or the first seven patches, or the first seven animals that we’re hunting. We do this to ensure that the seven generations to come will have plenty. Whatever you gather, you give some to the elders to help take care of those who have gone before. Sometimes you wear a feather when you’re doing this. If you want to have that power to be able to see very clearly and dis¬ tinguish things, you might carry an eagle Iiopi bow and arrow set, 1950. (Blair Clark, photographer, courtesy School of American Research Collections in the Museum of New Mexico)
feather in your hands, or have one tied in a bundle that you have with you. Or, you might have it hanging off your bow or your
above that called the thumb; it’s shorter.
rifle when you hunt. It depends. If what you
The three other finger feathers come below
want to do is to be really able to see through
that and make up what is called a “hand” of
the woods and spot your quarry, you use a
eagle feathers. It’s used in purification and
feather in order to call in that power and see
healing ceremonies. Some people have a
the things.
“hand plus”—the full seven, nine, or twelve,
Feathers help call up and focus your
depending how old an eagle is and how big
mental and emotional forces on a specific
the feathers are.
quality. If you’re wanting your eyes to be as
I have an antler and feather bonnet. I
good as an eagle’s eyes that day, and you
used it in a high ceremony in Texas when we
want the eagle’s help, then you go through a
received a flame that had been lit by the
prayer process and take the eagle feather
Onondaga and carried around the world by
with you when you go hunting, so that you
hand. When it came back to Dallas, I was
have that part of your being enhanced. You
picked to be the Medicine Person to Dance
tap on your tie to the eagle.
93
Dancer.
(Photo © 1993 George Ancona)
Remember, humans have all
birds—and even different feathers
plants and all animals within them, and all plants and animals are the reflection outward of all the com¬ ponents that make up a human being. An animal fetish or body part activates your connection to the powers of that animal. It’s like using the dream bundle with the owl. That’s basic. Then the inter¬
off the same bird—is going to vary
Remember, humans HAVE ALL PLANTS AND ALL ANIMALS WITHIN THEM.
from tradition to tradition. What I’ve learned has been passed on to me through the lineage of the elders of the Sweet Medicine Sundance Tradition, in particular, my teachers: Chief Two Trees of the Cherokee and Harley Swiftdeer of the Deer tribe, also Cherokee. I
pretation of the power and the
honor the seven generations of the
quality you’ve given to different
past that I learned from.
ELAINE BLUEBIRD REYNA S VISION
ONE EARTH-ONE PEOPLE (The Vision of Bluebird Woman ©)
The Original Plan of Creator, Life-Giver:
We are One People, on One Earth; All life is sacred; The Earth is sacred; We must cherish and protect our Mother Earth, Father Sky above and Sacred Oceans below; The Four Races of humankind will live in Harmony with all Living Things, so that as many as Seven Generations to follow each Generation— Our Future Generations—will live. The Seven Eagle Feathers represent these Future Generations and our Sacred Ceremonies. These Sacred Feathers carry our prayers to God; Whom we call Grandfather, Wakan-Tanka, Tunkashila; That All Our Relations may live. It is One Prayer: PEACE
Elaine Bluebird Reyna (Mes tiza/Algonquian)
95
Traditional dancers.
(Photo
©
1992 George Ancona)
HARFORD COUNTY
HlSfary
THE SYMBOLISM OF THE FEATHER IN PROSE i|J ■HiTiTtfJTE The feather is a spiritual symbol for Native American Nations from east to west. In strong voice, the personal vision of the feather is explained by men and women of six different tribal backgrounds:
Apache
(Lipan and Mescalero), Cherokee, Crow, Navajo, Lakota Sioux, and Algonquian. “When you look at a feather, you have all your heart and soul in it. You feel all the anger, all the blessing that comes with it— all the tears that fall for that feather in praying for forgiveness and in seeking blessing. “The feather is a medium of communica¬ tion with the supernatural beings or our spiritual messenger. There are feathers for every occasion—for making rain, for suc¬
GAIL TUCHMAN is the author of more than thirty books, stories, and plays for children, including the Readers Theater adaptation of The Secret Garden. She has been involved in book publishing since 1970 as a writer, editor, manager, and director of a book produHH company. Ms. Tuchman lives B her husband and daughter oiES not-so-tropical island of ManhtRsf where pigeon feathers abound ■■l
cess in hunting and fishing, for protection of homes, and for curing the sick. We use them in lullabies, love songs, corn grinding, and social dancing.” —Andrew Thomas, Navajo
ISBN 0-67105-517-1 “To look through the ey would take me to that place I can see what’s real and w
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