Dance team mocks Paiute culture

Native American says performance from Utah high school’s dance team mocked tribe’s culture

By Kiersten NuñezA dance routine performed by a Utah high school drill team is getting backlash for its cultural insensitivity to Native Americans.

The video has amassed nearly 20,000 views after it was posted by a parent who saw the performance during a halftime show last week at Cedar High School--home of the “Redmen.”

“The outfits, the music, the way they were dancing, the feathers, the way they were wearing the regalia: I thought it was mocking Native American people rather than honoring them,” said Teyawnna Sanden, who is a member of the Paiute Tribe.

Dancing to drums with echoes of an eagle in the background, members of the Redmen's drill team were on the gymnasium floor wearing colorful feathers and braided wigs.

CHS under fire for Native American halftime dance

By Bree BurkittLast Friday’s halftime performance by the Mohey Tawa Cedar High School drill team has drawn criticisms for the depiction of Native American dress and culture.

The CHS drill team danced to “tribal” music filled with eagle sounds, traditional singing and drumming while wearing braided wigs and fake feathers during last Friday’s basketball game.

The drill team has performed the dance “on several occasions,” according to Iron County School District Superintendent Shannon Dulaney.

The routine came under fire when a video was posted on Facebook by Teyawnna Sanders, a parent of one of the basketball players.

“Why should I have to explain why a non-native is dancing that way?” Sanders commented on the video. “If asked, Cedar’s answer most likely be that they are honoring us. Please do us a favor and don’t. Honor our sovereignty, our treaties—honor us by getting cultural diversity training. But please stop with this.”How it happened

Paiute Tribal Council responds to Cedar High drill routine

By Cody SmithThe Tribal Council of the Paiute Indian Tribe of Utah stated its disappointment in Cedar High School’s Mohey Tawa drill team for performing a dance routine it called culturally insensitive.

In response, John Dodds, Cedar High School principal, has assured the Tribal Council the dance will no longer be performed.

“The dance routine imitates the fancy shawl dance which is known as the ‘Butterfly Dance’ or ‘Graceful Shawl Dance,’” Tribal Chairwoman Corrina Bow said in a recent press release. “The performance by the drill team showed no comprehension of this dance style. The way it was performed, with the dancers wearing wigs, holding fans and making dramatic movements, such as legs raised high in the air and bending over, misrepresented the beauty and graceful style of actual fancy shawl dancers.”

According to the release, Mohey Tawa coach Janene McCurdy, along with other representatives of the drill team, met with the Tribal Council last April to inform council members they were developing a routine that incorporated Native American culture. Members of the Tribal Council reportedly expressed concern of the use of headdresses, eagle feathers, face paint and wigs.Tribal Council says Cedar High School’s dance team mocked culture

By Tracie SullivanDulaney remembers the meeting being held at the end of November at which time, she said, school representatives walked away thinking they had approval.

“Drill team leadership came away from the meeting with the understanding that full support had been given to the dance and the costumes that were intended to portray honor and respect for the Native American culture,” she said.

The council, however, has another memory of what transpired. According to the Tribal Council’s news release, the council did not approve the dance but recommended the drill team work with the Paiute Indian Tribe’s cultural resources director. They also asked to see and approve the dance before the girls performed it in public, according to the release.

“Unfortunately, the drill team did not follow up on any of the Tribal Council’s recommendations,” the news release stated.Video: School's Halftime Show Called ‘Offensive’; New Poll Finds Fewer Favor R-Word Mascot

"Tribal Council" on Dance Moms

Confuse 'Em While They're Young: 'Dance Moms' Puts Headdress on 13-Year-OldThe Lifetime TV series Dance Moms did a full-on parody of Native culture on Tuesday night when five girls in the Abby Lee Dance Company competed for their instructor's approval in a number called "Tribal Council." According to the recap at Glamorosi,

The group will do a Native American-inspired jazz routine called "Tribal Council"--Abby got the idea for the number after seeing Cher in concert.

Fast-forward to the actual performance, in which a 13-year-old girl named Nia gets the lead role. As described by Glamorosi:

The group competes first with their "Tribal Council" routine; they wear two-piece costumes that are red with gold trim, except for Nia, who wears gold with red trim. They all wear face paint and headpieces; Nia wears a full headdress, and they all take turns dancing on a large drum. This is, of course, culturally inappropriate, and I'm surprised it got by the producers, but I do not fault the girls.

Here's a clip of the dance number from Lifetime's YouTube channel:On the show's Facebook page, the issue of cultural appropriation has been brought up by a number of viewers. Here's one comment:

As a native woman I think it's disrespectful. And frankly I always complain when famous people try to make our culture a fashion choice. Learn real ways to respect a native. The headdress is stupid, the face paint is stupid.Comment:  So Abby Lee got the idea of stereotyping Indians from Cher's stereotyping of Indians? Wow, that's brilliant...not.

Next time you want to imitate a minstrel performance, maybe you should think twice about it. Duhhh.

Mall of America called "racist"

Mall of America called ‘racist’ for arresting Native American women before protest

By David EdwardsTwo Native American women say that they were arrested at the Mall of America in Minnesota on New Year’s Day for attempting to have a traditional cultural celebration that the officials interpreted as a protest.

The women, who are part of the activist group Idle No More, have called the mall’s action’s discriminatory.

“All we wanted to do is have the same equal access to the mall as other flash mobs have been here,” Idle No More Minnesota activist Patricia Shepard said after her arrest.And:Officials at the Mall of America called the 2012 Idle No More event “extremely disruptive” and forbid the activists from staging a similar event on New Year’s Day.

Reyna Crow, one of the woman who were arrested, insisted that the demonstration was more about sharing Native American culture than protesting.

“It’s a friendship dance,” she said.

“Singling out one particular group of people and telling them that they’re not welcome to have a positive family event, a gesture of friendship and healing in the Mall when so many other cultural groups are welcomed is to me absolutely appalling,” Crow explained.Mall Of America Bans Native American Activists From Performing Tribal Dance

By Sarah FruchtnichtWe don't allow protests in Mall of America and haven't in 21 years," said Maureen Bausch, Executive Vice President of Business Development, told KARE 11. "It clearly did not have to happen."

Mall of American says it told the group repeatedly that it would not be allowed to perform at the mall again this year.

“Any other group seems to be welcome in the Mall of America,” said Idle No More attorney Jordan Kushner.

"They're not allowed to discriminate. So they're treating this Native American group differently," said attorney Jordan Kushner.

"It's a friendship dance," argued activist Reyna Crow, of Idle No More – Duluth, who was arrested when she refused to leave. She said the group organized “a dance of renewed relationships, deeply connected to Mother Earth, Medicine Waters and in the spirit of all people of all walks of life joining in one circle of friendship and peace, and certainly not a protest.”

"If you look at the website for Idle No More, it is an activist group. It is a protest. It is a demonstration," Bausch said.

Sexy "Tonto" on Dancing with the Stars

Someone tweeted about this bit on Dancing with the Stars (airdate: 9/30/13), so I checked it out:



Bill Engvall Dancing With the Stars Paso Doble Video 9/30/13

By Annemarie FraserBill Engvall and professional dancer Emma Slater: dancing a Paso Doble. Bill had this to say about his dance, “Well we are back in rehearsals learning the Pasa Doble. I have no idea what that is. Wonder if it is served with rice and beans.”

Judges comments: Carrie Ann: “You nailed the Paso, you came out and all your moments were in sync.” Len: “When I was a kid and I love Lone Ranger, if you came out on his horse I would have given you a ten, it was your best dance.” Bruno: “It was like being in an opera house, I love it.”Fan favorite exits 'Dancing With the Stars'

By Ann OldenburgBill Engvall played the Lone Ranger for a paso doble with partner Emma Slater. "I am thinking about dance steps 24/7. ... It's real stressful," said Engvall, who had to keep comedy tour dates this week while also rehearsing. But, he added,. "I want to win this!" he said. His paso to the Lone Range music made for a dramatic dance that earned him raves from the audience and the judges. "Hi ho, Engvall!" said host Tom Bergeron when they finished. "You nailed the paso!" said Carrie Ann. "You must have rehearsed the poop out of that routine." Len said it was his "best dance." Bruno said, "So much attack!" Scores: 8, 8, 8 = 24.Comment:  If you didn't watch the video, Slater wore a buckskin-style mini-dress with fringe and feathers, and a headband. In other words, she was dressed as a Pocahottie.

No one made any cracks about Tonto or Indians, but Slater still was imitating a well-known Native character. On a popular network TV show, no less.

Shows like this are how most people learn about Indians. And what do they learn? That Indian women are sexy and anyone can dress up as one. That being Indian is nothing more than putting on a Halloween costume. And perhaps that real Indians don't exist anymore, since we never see them in such shows.

It's one more in an endless series of images portraying Indians as primitive people of the past.

For more on Indian women as sex objects, see Responses to Sleepless Entertainment's Cosplay and Young Native Fashion's "Squaw" Line.

Aztec dancers support liberal causes

Dancing Aztecs step up for leftist causes

Dancing to support gay rights or oppose police brutality is all part of the routine for the hardest-working group in Southern California's leftist protest circuit.

By Hector BecerraAztec dancers have shown up to support gay rights and oppose police brutality. They've been invited to protests by African American groups and Asian ones, including the Korean Immigrant Worker Assn. They've protested Christopher Columbus. Three years ago, they danced and beat drums in Westwood at a pro-Palestinian rally.

"Aztec dancers at a protest for any leftist cause in Southern California are as ubiquitous as 'si se puede' chants and posters of Emiliano Zapata and Che Guevara," says Gustavo Arellano, editor of the OC Weekly and author of the syndicated "Ask a Mexican!" column.

They also frequently dance at antiwar protests, which might seem a bit strange, seeing as the Aztecs weren't exactly known as peace-loving lotus-eaters.

Alexei Hong, 30, an activist for the antiwar, anti-hunger group Food Not Bombs, says the thought sometimes occurs to her when she sees the Aztec dancers.

"I think of war and empire, and then it's funny to see them at these anti-imperialist and antiwar protests," says Hong, who rode her bike at the May Day protest.

The Aztecs, Garcia says, get a bad rap.

"The myth is that we are a bloodthirsty people, but that's not true," she says, picking at her salad at a Denny's the day before the big march. "It's one of the struggles we've had as an indigenous people, the image that has been forced on us to justify all sorts of things that have been done."Comment:  For more on the Aztecs, see Humboldt Republic's "Chief Life" T-Shirts and Aztlán the Board Game.

Below:  "Costumed members of the Danza Mexica Cuauhtemoc political Aztec dance group perform on Broadway in downtown L.A. earlier this month. (Don Bartletti/Los Angeles Times)

Maria Tallchief dies

Maria Tallchief, a Dazzling Ballerina and Muse for Balanchine, Dies at 88

By Jack AndersonMaria Tallchief, a daughter of an Oklahoma oil family who grew up on an Indian reservation, found her way to New York and became one of the most brilliant American ballerinas of the 20th century, died on Thursday in Chicago. She was 88.

Her daughter, the poet Elise Paschen, confirmed the death. Ms. Tallchief lived in Chicago.

A former wife and muse of the choreographer George Balanchine, Ms. Tallchief achieved renown with Balanchine’s New York City Ballet, dazzling audiences with her speed, energy and fire. Indeed, the part that catapulted her to acclaim, in 1949, was the title role in the company’s version of Stravinsky’s “Firebird,” one of many that Balanchine created for her.

The choreographer Jacques d’Amboise, who was a 15-year-old corps dancer in Balanchine’s “Firebird” before becoming one of City Ballet’s stars, compared Ms. Tallchief to two of the century’s greatest ballerinas: Galina Ulanova of the Soviet Union and Margot Fonteyn of Britain.

“When you thought of Russian ballet, it was Ulanova,” he said an interview on Friday. “With English ballet, it was Fonteyn. For American ballet, it was Tallchief. She was grand in the grandest way.”

A daughter of an Osage Indian father and a Scottish-Irish mother, Ms. Tallchief left Oklahoma at an early age, but she was long associated with the state nevertheless. She was one of five dancers of Indian heritage, all born at roughly the same time, who came to be called the Oklahoma Indian ballerinas: the others included her younger sister, Marjorie Tallchief, as well as Rosella Hightower, Moscelyne Larkin and Yvonne Chouteau.

Growing up at a time when many American dancers adopted Russian stage names, Ms. Tallchief, proud of her Indian heritage, refused to do so, even though friends told her that it would be easy to transform Tallchief into Tallchieva.

She was born Elizabeth Marie Tall Chief on Jan. 24, 1925 in a small hospital in Fairfax, Okla. Her father, Alexander Joseph Tall Chief, was a 6-foot-2 full-blooded Osage Indian whom his daughters idolized and women found strikingly handsome, Ms. Tallchief later wrote. (She and her sister joined their surnames when they began dancing professionally.)

Her mother, the former Ruth Porter, met Mr. Tall Chief, a widower, while visiting her sister, who was a cook and housekeeper for Mr. Tall Chief’s mother.Comment:  For more on Maria Tallchief, see Osage Ballet Wahzhazhe and Crystle Lightning = Maria Tallchief?

Below:  "Maria Tallchief in the title role in George Balanchine's ballet "Firebird."

Osage ballet Wahzhazhe

'Wahzhazhe': An Osage Ballet at the National Museum of the American IndianOpening March 20 and running through March 23 at the Smithsonian National Museum of the American Indian in Washington, D.C. is the Osage ballet, Wahzhazhe. Performances are free and will be staged daily at 3 p.m. in the Rasmuson Theater, 1st level.

The Osage ballet, Wahzhazhe, is a contemporary ballet that brings together unique and diverse qualities of Oklahoma history and culture: a reverence for classical ballet that was the legacy of two famous Osage ballerinas, Maria and Marjorie Tallchief, and the richness of Osage traditional music, dance, and textile arts. The creative set designs transform the stage into accurate depictions of Osage lifestyles and the costumes are created to appear as the traditional tribal clothing that was worn during the past 200 years.Comment:  For more on Native ballet, see Boise Philharmonic's Sacred Land and A Story Before Time.

Nevada commercial features Indian dancers

Carson-area American Indian dancers in tourism commercial

By Teri VanceThe Nevada Commission on Tourism was in Carson City during the weekend filming a segment for its latest television commercial, part of its campaign to draw visitors to the state.

The commercial, the first the commission has done in four years, will highlight different aspects of the Silver State.And:Sunday's segment was filmed along the Carson River in Riverview Park. It featured traditional American Indian dancers—fancy dancers father and son Ben and John Rupert, fancy shawl dancer and Miss Indian Nations Shannon Hooper, and grass dancer Martin Montgomery—dancing to the beat of the Red Hoop Drum Group from Minden.

“People don't always know about the Native Americans in this state,” said Sherry Rupert, director of the Nevada Indian Commission. “That's one of the things we're trying to do in Nevada is tell the story of the Native Americans. We're grateful to the Nevada Commission on Tourism that they see the value in including our culture. We're honored to be able to participate.”Comment:  For more on powwow dancers, see Circle of Dance at NMAI and Apaches Perform No-Rain Dance.

"Native American Christmas Gangnam Dance"

Family Dressed as Indians for Christmas Doing Gangnam Style: 'No Offense Intended'This came over the Twitter wire a short time ago from our friend @NativeApprops--she wrote:In case you forgot in the midst of #IdleNoMore how most of the US sees us: "Native American-Christmas-Gangam-Dance"The video below is of a white family who, for reasons unknown, have dressed as Indians for their Christmas gathering. And as you might expect, "Gangnam Style" ensues. The explanation posted to YouTube:Unfortunate intersection of a Native American themed Christmas family reunion dancing to Gangnam Style.

PS - No offense intended to our native american friends!Comments on the video are piling up fast and furious, but perhaps the best is the simplest, from user uttja:To be clear: saying, "No offense" does not in fact make this inoffensive.Comment:  The people who posted the video have removed it and the comments. Presumably because too many people excoriated the creators for their blatant racism.

Fortunately, we have a screen shot from the video. I think it gives you the basic idea.



I trust I don't have to explain what's wrong with this.

Who posted the video?

The phrase "unfortunate intersection" suggests that the people who danced aren't the ones who posted the video. Perhaps the posters were bystanders who happened to come across the dancing family and filmed them. Or perhaps the family posted the video on another site and someone reposted it.

If the people who posted it weren't the dancing family, that sheds a different light on the "no offense" comment. The posters may have posted the video to illustrate the racism and stereotyping in our culture, not to revel in its ridiculousness.

This is the reason Native Appropriations and I often post "offensive" material: to expose our society's prejudice against Indians. If that was the posters' intent, then no apology is necessary.

For more on the subject, see Racist "Make Me Indian" App and What's Wrong with No Doubt's Video.

Boise Philharmonic’s Sacred Land

Boise Philharmonic’s ‘Sacred Land’ honors Shoshone-Bannock culture

The commission launches Boise’s 150th birthdayWhen Boise Philharmonic music director Robert Franz was asked to come up with an idea to commemorate Boise’s sesquicentennial celebration, his first thought was, “What was happening here 151 years ago?”

“Being new here,” he says, “I was curious about what had come before.”

That simple question led Franz to discover the history of the Shoshone-Bannock tribes, and how they once flourished in the Boise Valley but were forcibly relocated to eastern Idaho in the 1860s.

“It seemed poignant to remind people about this history at this time,” Franz says. “One of the things we can do with art is express ideas and make people aware of them. I thought it would be fitting to somehow honor and describe that history.”

Franz commissioned Idaho composer Jim Cockey to write a piece for chorus, percussion, harp, woodwinds, strings and dance, inspired by the Sho-Ban Indian culture and history.

Cockey’s “Sacred Land” will make its world premiere this weekend in two Boise Philharmonic concerts that will feature the orchestra’s 110-member Master Chorale and choreography by Ballet Idaho’s Alex Ossadnik. Also on the program is Stravinsky’s “The Rite of Spring.”The commission launches Boise’s 150th birthday

Ballet Idaho's Latest Work Pays Tribute To Shoshone–Bannock Tribes

By Sadie BabitsBoise composer Jim Cockey’s newest work debuts tonight in Nampa. Sacred Land is a tribute to the Shoshone-Bannock tribes. Their history, from before settlers arrived in the Treasure Valley to the forced relocation of the tribes to the Fort Hall Reservation in Eastern Idaho in 1869, unfolds through the music.

The nearly 40 minute arrangement features members of the Boise Philharmonic and the Boise Master Chorale. It will also include a new dance by Ballet Idaho. Alex Ossadnik is the company’s ballet master. He says before he began to choreograph, he picked up on a phrase that’s used in Cockey’s music.

“And that abstract phrase needless to say was the phrase ‘the Boise River ran red with the blood of our people.’ Immediately I saw the effect.”

A tribal member shared that phrase with Cockey, explaining that her great grandmother would describe the relocation from the land in and around Boise with those words.

Ossadnik says he wants to convey the pain and the powerlessness of the relocation more than 150 years ago to the audience. He does this with 14 dancers. They eventually fall to the stage - a massive white sheet that represents the river covers them. “It’s very sculptural,” explains Ossadnik. “This is a very emotional and dark piece.”

The dancers emerge from under the cloth to end with music that represents the healing of all people.Comment:  For more on concerts honoring Indians, see Mankato Concert to Mourn Dakota War and Caritas Chorale Performs Nez Perce: Promises.

Below:  "Phyllis Rothwell Affrunti and the Ballet Idaho dancers rehearse for an original project honoring the history of the Shoshone-Bannock tribe. They will perform with Boise Philharmonic." (Darin Oswald)

Circle of Dance at NMAI

Circle of Dance: Exhibition of Native American Dance Opens at National Museum of the American Indian in New YorkAn exhibition featuring Native dance as a vibrant, meaningful and diverse form of cultural expression is presented in Circle of Dance, opening Saturday, October 6, at the Smithsonian’s National Museum of the American Indian in New York, George Gustav Heye Center. This five-year exhibition, which features 10 social and ceremonial dances from throughout the Americas, will be on view at the museum through October 8, 2017.

For well over 50 years in the United States and Canada—and for centuries in Latin America—church and “civilization” regulations discouraged and even outlawed many indigenous dances. Not until the second half of the 20th century were such prohibitions fully reversed. Today, in the second decade of the 21st century, many Native communities continue to preserve their traditions involving dance.

Circle of Dance will interpret the traditions of social, ceremonial and spiritual dances highlighting the significance of each dance and the unique characteristics of its movements and music. Each dance will be showcased by a single mannequin dressed in appropriate regalia and posed in a distinctive dance position. An accompanying media piece will complement and enhance the mannequin displays. Presenting the range of dances featured in the exhibition this high-definition video will capture the variety of the different Native dance movement vocabularies, and the music that is integral to their performance.

“These diverse social, ceremonial and spiritual dances are essential in maintaining the spiritual, physical and emotional well-being of tribal communities,” said Kevin Gover, Pawnee/Comanche, director of the National Museum of the American Indian. “This exhibition will demonstrate what an important tool dance is to the expression and vitality of Native peoples.”Comment:  For more on Native dance, see Apaches Perform No-Rain Dance and Nakotah Larance in Geronimo Video.

Below:  "Northern Traditional Dancer, Terry Fiddler (Cheyenne River Sioux), National Museum of the American Indian National Powwow, 2007. Photograph by Katherine Fogden (Mohawk)."

Apaches perform no-rain dance

Tribe dance for Games sunshineLondon has experienced one of its wettest summers to date, and with just hours to go until the biggest sporting event in the world, the 2012 London Olympics, British Airways is hoping to encourage the recent bout of clear weather to continue, by flying in an Apache tribe to perform a sacred dance.

The Native American ‘Yellow Bird Indian Dancers’ from Arizona, USA performed their traditional dance in London’s Butler’s Wharf on Thursday.

Chief Ken Duncan, from Yellow Bird Indian Dancers, said: “We are honoured to be asked for our support by the people of London.

Over the past week I have begun daily prayers and requests to the Creator, asking him to speak with the rain on our behalf. I have visited with and asked my spiritual elders from various tribes to pray with me. Many will be with me in spirit as I approach the rain, and the prayers will continue until I return to Arizona.

“I am asking the rain to watch from afar and see the many people from the many lands come together and play as one.”

To carry on the spirit of keeping the good weather, the tribe spent the morning training the BA Lawn Captains, who will be entertaining crowds at British Airways Park Live, so that they can perform it if needed.Comment:  So many layers here!

Some background on Yellow Bird Productions:International renowned "Yellow Bird Productions" under the direction of Ken Duncan, member of the Apache Tribe specialize in presentations that celebrate the unique spirit of the American Indian.

Yellow Bird is a professional family dance compay based in Phoenix, Arizona. They include the current 2011 World Champion Hoop Dancer and former "Miss Indian World."For starters, it's not clear that the Yellow Bird Indian Dancers performed a rain dance or a no-rain dance. It seems as though they performed the same "traditional dance" they always perform. From photos, we can tell this involves hoops, which aren't involved in rain-related ceremonies.

Nor is it clear that the dancers are Apache, much less an "Apache tribe." According to its website, Yellow Bird has "champion Hoop Dancers, Great Plains pow wow dancers and Apache dancers." So only some of its dancers are Apache.

But let's assume this was an Apache group, as the press implied.

The Apache may consider their traditional dance, whatever it is, a prayer to the Creator. It seems "Chief Ken Duncan" added a prayer to keep the rain away. If I'm right, the dance was a generalized prayer to God with a specific prayer voiced separately. The dance itself wasn't about rain; it was transformed into a "no-rain dance" by the circumstances.

As another note, you generally don't call the head of a dance troupe "Chief." But perhaps that was the British press's doing, not Yellow Bird's.

Praying for money?

Someone on Facebook said her first response to this dance was that it perpetuates stereotypes. Her second response was that it's sad to see Natives praying for money. Both are good points.

Does Yellow Bird Productions really have a dance to keep the rain away? Or did they just say that to get a free trip to London? Couldn't Duncan have prayed for sunshine without the trip and the dance? Do Apache elders really have nothing better to do than help an athletic competition keep dry? What about all the war, poverty, hunger, and disease in the world?

The Olympics is a billion-dollar athletic competition, I'm sure. Suppose rain would cost the Olympics 1% of its profits, or $10 million. If the "no-rain dance" works, will the Olympics give that 1% to indigenous causes? If the Indians earned it, why not?

We don't know if Yellow Bird was paid, but they got a free trip, at least. If that isn't praying for money, it's close. Couldn't the dancers have prayed and danced back in Arizona? Was their presence in London really necessary? Or was it all a show--to prove the Brits weren't taking the possibility of rain lightly?

Indians are weather wizards?

The dance certainly perpetuated the idea that Indians have some supernatural power over rain. Did the dancers think of saying, "No, we don't dance to bring rain or to keep it away. That's a common myth. Even the Pueblo Indians don't do that, and we're Apache, not Pueblo."

Or did they say to themselves, "Free trip! Tell the Olympics we'll do whatever they want! Take our usual hoop dance, slap a prayer on it, and voilá...it becomes a pseudo-magical anti-rain dance! Pack your bags, everyone!"

I don't know, but I suspect the latter. If so, I'd say it's a stereotypical abuse of traditional Native culture.

The typical rebuttal would be: "Why take this dance so seriously? Whether it works or not, it's just a bit of entertainment." If that's the case, why not dress up some white men as Plains Indians and have them make up a dance? If the no-rain dance isn't a legitimate part of an actual Native culture, who cares who does it?

In other words, if the dance has no cultural connection to rain, having real Indians perform it doesn't make it right. All it does is legitimize the stereotypical belief that Indians can control the rain.

For more on rain dances, see Atheists Criticize Rain-Dance Wish and No Such Thing as Rain Dances.

Nakotah Larance in Geronimo video

Hoop Dancer Nakotah Larance Jazzes Up ‘Geronimo’ by The Knocks and Fred FalkeThe video for a new dance track, “Geronimo,” features an impressive display by champion hoop dancer Nakotah Larance.

New York-based electronic duo The Knocks teamed with German-born producer Fred Falke (he is based in Paris) to create “Geronimo,” the title of which, Knocks member B-Rock told Rolling Stone, was inspired by a portrait of the Apache leader in their New York recording studio. “When Fred was trying to think of a name for the record [before we did the vocals],” B-Rock says, “he looked up and saw the picture and said, ‘Who’s that?’ We told him it’s Geronimo and he said ‘Perfect!’… That inspired the concept and lyrics later.”

Nakotah Larance was recruited by the video’s director, Daniel Pappas. “He had worked with [Larance] before for some project he was doing, and the second he heard the song, he had the concept,” B-Roc says. “When he told us the idea, we knew it was too good to pass up. He went through a lot to lock down the dancer and the location and everything, but it definitely paid off. We think it’s cool that the video makes a reference to rave culture. You see hundreds of these ‘hoopers’ of all ages at these dance festivals, so it’s a cool thing to touch on.”

According to Hooping.org, Larance is a six-time world champion hoop dancer. The video for “Geronimo” is the second we know of in recent months to feature hoop dancing; in May, singer Nelly Furtado released a video for her single “Big Hoops” in which brothers Tony and Kevin Duncan both displayed their hoop dancing skills, and Tony’s wife Violet showed off some shawl dancing as well.Comment:  I don't know what the song has to do with Geronimo, since I can't understand it. The high-energy tone doesn't match my impression of Geronimo, whom I think of as stealthy and quietly lethal.

The initial scenes of Larance getting up and getting ready for the day don't do anything for me either. But once he starts dancing, his moves fit the song well.

For more on the subject, see Hoop Dancers in Furtado Video.

Native performers in Cirque du Soleil

Meet Christian Laveau, Discovered at a Pow Wow, Now the Lead Singer of Cirque du Soleil’s TOTEM

By Jordan WrightChristian Laveau keeps to his roots–both literally and culturally. As an herbalist he stays grounded by following the ways of his people working for several years at the First Nations Garden at the Montreal Botanical Garden sharing his knowledge of native plants and traditional medicines passed down to him by his Huron-Wendat elders. As a cultural ambassador he is a well-known Canadian performer, TV host, comedian, singer, songwriter, television producer and musician. His award-winning children’s show Chic Choc focuses on inspiring stories directed towards Canadian youth.

His most recent role is as the lead singer in Cirque de Soleil’s latest production TOTEM, a fascinating tale of the evolution of man from his original amphibian state to his ultimate desire to fly. Illustrated through a visual and acrobatic language, it falls somewhere between science and legend. Laveau was discovered by the iconic Canadian company while performing at a pow wow on his reservation.

How do you reach young people with your message?

I have a TV show called Chic Choc on the Aboriginal Peoples Television Network (APTN). In native language it means, “Go over the mountain.” It’s for the youngsters that I do this TV show. It’s difficult for them. There are not a lot of things to do in the area and there are problems with alcohol and drugs. They don’t even allow glue in the classrooms. But because the children are the keepers of our culture we have to show them and use what our grandparents gave us. My grandmother always spoke to me about the importance of the “Seventh Generation” and continuing our traditions.

In TOTEM, you sing in your mother language?

Yes, in the show I sing in my mother language. Guy Laliberté [founder of Cirque du Soleil] said, “You are a real culture, you are alive, so you will sing in your mother language.” For me it’s really an honor. Every night I use my own drums and other personal items.

Tim Smith, who has been TOTEM’s Artistic Director through its inception, was there to answer additional questions about the production.

Are there other Native performers in the cast?

The show is truly multicultural. We have 53 artists from 17 different countries speaking 9 different languages on stage every night. Two are American Indian dancers performing traditional dance–Shandien Larance (Hopi) and Eric Hernandez (Hopi) from New Mexico and California. They are authentic hoop dancers. The hoop shapes describe evolution from frog to thunderbird. We don’t teach them, we go out and find the real thing. We use a lot of traditional images and Christian (Laveau) has written a lot of original music for the show in collaboration with the composers of Cirque. That’s how authentic TOTEM is, and how important it is for the company to embrace that voice and that spirit.Comment:  For more on a related subject, see Inuit Circus in Igloolik.

Below:  Christian Laveau.

Hoop dancers on Tonight Show

Nelly Furtado Performs ‘Big Hoops’ on ‘The Tonight Show’Nelly Furtado has been busy promoting her new single all week long. On Thursday night, she returned to “The Tonight Show with Jay Leno” to perform “Big Hoops (Bigger the Better)” off her upcoming album The Spirit Indestructible, due this September. Looking sexy in a black bodysuit, gold chain, and ponytail, Nelly kicked it into high gear with an energetic set featuring the hoop dancers from her music video.Comment:  For more on the subject, see Hoop Dancers in Furtado Video.

Sagkeeng's Finest wins Canada's Got Talent

‘Canada’s Got Talent’ winner is Sagkeeng's Finest

By Erin CrigerSagkeeng's Finest, a three-member traditional dance troupe from Manitoba's Sagkeeng First Nation, has won Canada's Got Talent, beating out 11 other finalists on Monday evening.

“This feels like a dream, I don’t even know what to say right now. I just want to thank everybody who voted for us and supported us, it’s an amazing feeling,” said Brandon Courchene.Comment:  For more on the subject, see Jigging in Canada's Got Talent and Hoop Dancer in Canada's Got Talent.

Hoop dancers in Furtado video

Watch Hoop and Shawl Dancers in Nelly Furtado’s New VideoThe video for Nelly Furtado’s single “Big Hoops (Bigger the Better)” has been released, and for fans of hoop dancing it’s a great tribute to the skills of champion hoop dancer Tony Duncan and his brother Kevin (both San Carlos Apache/Arikara/Hidatsa).

Also making a surprise (to us) appearance is Violet Duncan, Plains Cree/Taino, Tony’s wife, performing a fancy shawl dance. Violet served as Miss Indian World 2007.Comment:  I approve of the concept of extending Native culture into nontraditional areas such as music videos. I don't have any use for this particular song or type of music.

Since the song is about "Big Hoops," the dancers are fitting. I'm not sure the video will win any awards, but it does a decent job of integrating the dancers into the performance.

For more on Native-themed music videos, see Bon Iver's Towers Video and Screw the Drugs Music Video.

Jigging in Canada's Got Talent

Sagkeeng's Finest take their jigging to finals of Canada's Got TalentThe jig is up . . . or at least it's made it to the final round. Three young dancers who make up Sagkeeng's Finest have advanced to the finals of Canada's Got Talent.

Dallas and Brandon Courchene and Vince O'Laney returned from Toronto to Winnipeg on May 1 and an excited crowd of community supporters were at the airport for an emotional welcome, including 80 people from their home at Sagkeeng First Nation, Manitoba. Many of them were armed with banners, hand-made signs and even bells and whistles.And:Jigging is a traditional art form in the community. The young men have been jigging for a few years, but they only decided to form the trio this past August, when they first heard about the show.

Their routine is fairly traditional, but they do add some fusion elements from other more modern dance styles. They had a big moment in their performance this week that got them to the final round when they threw a moonwalk in the middle of their routine.Sagkeeng’s jigging sensations heating up TV screens

Comment:  For more on the subject, see Hoop Dancer in Canada's Got Talent.

Below:  "Dallas and Brandon Courchene and Vince O'Laney make up Sagkeeng's Finest who will go to the finals in Canada's Got Talent." (Jerry Flett/NCI)

Hoop dancer in Canada's Got Talent

Hoop Dancing Dynamo Lisa Odjig From Canada’s Got Talent

By Sam LaskarisThanks in part to a routine shopping trip, Lisa Odjig was able to display her hoop dancing talents to a national audience. Odjig, an Odawa-Ojibwe who lives in Toronto, auditioned for and became a featured performer for Canada’s Got Talent.

The first-year show, similar to the established America’s Got Talent, enables any person or group to showcase their skills in front of judges, a live audience and all those watching at home on television.

Odjig, a two-time world hoop dancing champion, was one of 36 contestants who advanced to the semi-final round. But after her second national TV appearance on Apr. 22, Odjig was eliminated the following evening during the show’s results broadcast when the semi-final votes were announced. Anybody could vote for their favorite performer by phone, text, Facebook, Twitter or online.Comment:  For more Indians in reality shows, see Apaches in No Kitchen Required and Umatilla Model Portrays Pocahontas.

Tribal Vision educates through dance

Entertaining and educating about Native culture

By Christine HoslerTribal Vision is a Native dance group out of Six Nations which dances to teach.

“We want to share our culture through dance and song,” said co-founder Naomi Martin. “We went with a different angle, educational instead of entertainment I guess you’d say.”

The group travels to schools, festivals, corporate events and sessions such as the one performed last Friday afternoon at Avondale Zion United Church. Members dance and sing in traditional Native dress. All dancers are experienced, and were all part of separate dancing groups before coming together in 2009 when Naomi and her husband Derek formed Tribal Vision. Their goal is to educate people about Native culture.

“Number one is they think we’re all the same,” said Martin. “We’re all different. There’s just as many first nations in North America as there are ethnicities in Europe.”Comment:  For more on Native efforts to educate people, see Narragansetts Use Film to Educate.

Below:  "Derek Martin performs his modern interpretation of a war dance as part of the Tribal Visions educational exhibition last Friday at Avondale Zion United Church."