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From one of the writers of the twentieth-century Native American Literary Renaissance comes a remarkable tale about how to acknowledge the past and take a chance on the future. Rooted in tribal-world consciousness, That Guy Wolf Dancing is the story of a young tribal wolf-man becoming a part of his not-sonatural world of non-tribal people. Twenty-something Philip Big Pipe disappears from an unsettled life he can hardly tolerate and ends up in an off-reservation town. When he leaves, he doesn’t tell anyone where he is going or what his plans, if he has any, might be. Having never taken himself too seriously, he now faces a world that feels very foreign to him. As he struggles to adapt to the modern universe, Philip, ever a “wolf dancer,” must improvise, this time to a sound others provide for him. Like the wolf, Philip sometimes feels hunted, outrun, verging on extinction. Only by moving rhythmically in a dissident, dangerous, and iconic world can Philip Big Pipe let go of the past and craft a new future.
Songprints, the first book-length exploration of the musical lives of Native American women, describes a century of cultural change and constancy among the Shoshone of Wyoming's Wind River Reservation. Through her conversations with Emily, Angelina, Alberta, Helene, and Lenore, Judith Vander captures the distinct personalities of five generations of Shoshone women as they tell their thoughts, feelings, and attitudes toward their music. These women, who range in age from seventy to twenty, provide a unique historical perspective on many aspects of twentieth-century Wind River Shoshone life. In addition to documenting these oral histories, Vander transcribes and analyzes seventy-five songs that the women sing--a microcosm of Northern Plains Indian music. She shows how each woman possesses her own songprint--a song repertoire distinctive to her culture, age, and personality, as unique in its configuration as a fingerprint or footprint. Vander places the five song repertoires in the context of Shoshone social and religious ceremonies to offer insights into the rise of the Native American Church, the emergence and popularity of the contemporary powwow, and the changing, enlarging role of women. Songprints also offers important new material on Ghost Dance songs and performances. Because the Ghost Dance was abandoned by the Wind River Shoshones in the 1930s, only Emily and Angelina saw it performed. Vander engages the two women--now in their sixties and seventies--in a discussion of the function and meaning of the Ghost Dance among the Wind River Shoshones. Thirteen Shoshone Ghost Dance song transcriptions accompany their accounts of past performances. The distinctive voices of these five women will captivate those interested in music, women's studies, ethnohistory, and ethnography, as well as ethnomusicologists, Native American scholars, anthropologists, and historians.
This is story about a young wolf who shows himself to be worthy of great things and who is destined to become a great Wolf Pack leader as foretold. One who takes on the responsibility of protecting his pack from outside dangers that could cause the total destruction of his pack if left unresolved.
Discover the transformative lessons from one of humanity’s oldest teachers—the wolf—with this enthralling, accessible, and “beautiful book” (Helen Hunt, Academy Award–winning actress) that “is rich with meaning, emotion, and spirit. A must read” (Douglas W. Smith, PhD, leader of the Wolf Restoration Project at Yellowstone National Park) to help us restore our connection with nature, our communities, and our deepest selves. Myths from cultures around the world show that wolves have enthralled humankind for millennia. In The Wolf Connection, Teo Alfero, shamanic practitioner and wolf conservancy founder, shows how interacting with wolves and wolfdogs can benefit people from all walks of life. By restoring our ancestral bond with these resourceful beings, we can reclaim the best of what it means to be human. The Wolf Connection offers twelve Wolf Principles to awaken our intuition, live more authentically, and heal from trauma. The principles draw on knowledge that Teo and the Wolf Connection sanctuary team have gleaned firsthand through their Wolf Therapy® education and empowerment program, as well as the findings of wolf biologists and the wisdom of First Nation elders. Stories from myriad sources including Wolf Heart Ranch provide a compelling understanding of the lessons wolves have to offer us.
High fantasy born of myth and folklore, of the dark and the trees and the winter’s cold, the flint blade’s edge and the secrets that are spoken only in dreams… Assassin, executioner, shapeshifter, and dutiful son of the undying Queen of the land called only the Forest, Mairran is haunted by the voice of an Immortal long lost, who runs with him as a wolf in his dreams. More used to being the instrument of death than an arbiter of justice, he is dispatched by his mother to find the killer of an earl whose life was offered in an unsanctioned sacrifice to the Forest. In an earlier age, the outlaw Lannesk swears an oath to follow the Grey Hunter and the Wild King, ancient guardians of the Forest, in a war against the invading dragon-kin and their sorcerer-priests, who seek to wake the great dragon long ago bound in sleep beneath the Lake. Past and present tangle around troubled assassin and mute outlaw, as a conspiracy of fell magic threatens the land and its people. Evocative of a darker, grimmer McKillip, The Wolf and the Wild King is a brooding, lyrical new work from a master of epic fantasy.
The works of Edward Sapir (1884 - 1939) continue to provide inspiration to all interested in the study of human language. Since most of his published works are relatively inaccessible, and valuable unpublished material has been found, the preparation of a complete edition of all his published and unpublished works was long overdue. The wide range of Sapir's scholarship as well as the amount of work necessary to put the unpublished manuscripts into publishable form pose unique challenges for the editors. Many scholars from a variety of fields as well as American Indian language specialists are providing significant assistance in the making of this multi-volume series.
When a white wolf flees captivity by humans, he must learn to hunt and run with a pack and to discover what it truly means to be a wolf. By the author of Fire, Bed, and Bone. Reprint.
Includes Annual report of the Boy Scouts of America.
Collects the oral literature, poetry, and life stories of Alaska's Native speakers of Yupik, Inupiaq, and Alutiiq, including ancient tales spanning generations as well as new traditions, accompanied by essays on each Native group's background.--(Source of description unspecified.)
During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill’s Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada’s Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.