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Performative Power in Native America: Powwow Dancing

Published online by Cambridge University Press:  22 July 2014

Ann Axtmann
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Extract

Back in 1988, my father had passed away and for a short time I stopped dancing. I lost interest, I lost my heart, you know…' cause I used to dance on stage for my father…Recently,…I just started back dancing…the reason is 'cause…This is me. This is who I am. A dancer. A Fancy dancer at that. And this is where I felt my father was most proud of me. And even now, I still feel that he is most proud of me. Right now, he's with me when I dance and I dance for my father. I dance for him, for my pop, for Gray Fox.

—Calvin Burns (Cherokee) (Traveling the Distance)

Throughout the United States and Canada people go to Native American intertribal powwows. At powwows women, men, and children execute rhythmic movement, drumming, and song as they experience and express sensory stimuli. The aroma of sage incense pervades as Indians and non-Indians socialize, share fry bread, and sell, buy, or “window shop” at concession stands. Vendors display T-shirts, fur, turquoise, silver, and beaded jewelry as well as artwork, CDs, and Ecuadorian and Peruvian items. All participants enjoy storytelling, comedy skits, Indian rap and country music performances, and Mexican “Aztec” dance presentations alongside rituals such as giveaways, the Eagle ceremony, or the Veterans dance. These social and spiritual celebrations occur in increasing numbers across North America. In the tristate region of New York, New Jersey, and Connecticut alone, from 1995 to 2001, the number of powwow events has tripled.

Type
Articles
Information
Dance Research Journal , Volume 33 , Issue 1 , Summer 2001 , pp. 7 - 22
Copyright
Copyright © Congress on Research in Dance 2001

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