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Traditionally, the Cherokees dance to ensure individual health and social welfare. According to legend, the dance songs bequeathed to them by the Stone Coat monster will assuage all the ills of life that the monster brought. Winter dance (including the Booger Dance, which expresses the Cherokees’ anxiety at the white invasion) are to be given only during times of frost, lest they affect the growth of vegetation by attracting cold and death. The summer dance (the Green Corn Ceremony and the Ballplayer’s Dance) are associated with crops and vegetation. Other dances are purely for social intercourse and entertainment or are prompted by specific events in the community. When it was first published in 1951, this description of the dances of a conservative Eastern Cherokee band was hailed as a scholarly contribution that could not be duplicated, Frank G. Speak and Leonard Broom had achieved the close and sustained interaction that very best ethnological fieldwork requires. Their principal informant, will West Long, upheld the unbroken ceremonial tradition of the Big Cove band, near Cherokee, North Carolina.
This book depicts the Cherokees' ancient culture and lifestyle, their government, dress, and family life. Mails chronicles the fundamentals of vital Cherokee spiritual beliefs and practices, their powerful rituals, and their joyful festivals, as well as the story of the gradual encroachment that all but destroyed their civilization.
This enchanting Cherokee legend comes alive through the author's vivid adaptation and striking illustrations. Children will be spellbound as they read about the distinctive lifestyle and beliefs of the Cherokee people. Full color.
"In these essays a distinguished historian analyzes how the Indian nations of the Southeast grappled with nationalism, slavery, and missionaries. Against the background of this "combined onslaught on their cultural identity," McLoughlin describes what the Indians did "to preserve what they considered most important." The fate of Native Americans was inextricably bound up with the most vital questions of national life"--Publisher's description.
Long ago Cherokee dancers would dance, and through dancing tell stories about the tribe. The wrapped themselves in colorful blankets and wore masks to represent people, feelings, and animals that shared their world. The masks had exaggerated features such as extra-long noses, big bushy eyebrows, or horns to represent characters in the stories. The most popular Cherokee masks are represented here for children to color and do lessons in matching, mazes, completing sentences, connecting dots, counting, spelling, and more. For children age 5-8 years.
The Choctaws are among the largest and best-known Indian tribes originally of the Southeastern United States, but over the centuries they have become one of the most acculturated to white ways, known more for what they absorbed of white culture than for their own distinctive traditions. Since the removal of the greatest part of the tribe to Oklahoma in the 1830s, Euro-American acculturation has become especially dominant. Nevertheless, among the isolated group of Choctaws that remained in Mississippi after Removal and a few individuals in Oklahoma, the old tribal dances and songs have been preserved. This book discusses all aspects of the Choctaw dances and songs performed today by dance troupes in Mississippi and Oklahoma. It describes the social organization of the troupes, the construction and use of their musical instruments, and their costumes. Extensive historical information surveys the early literature on Choctaw music and dance, the divergent experiences of the Mississippi and Oklahoma Groups, and the recent movement toward cultural revival among traditionalists in both states. The choreography for each dance that survives in the Choctaw repertory is described in detail and illustrated by photographs. The book also contains an overview of Choctaw dance music, with a classification of the song and in-depth analyses of musical elements, form, and design. The structure of dance events is reconstructed here for the first time. Musical transcriptions of thirty songs are included. The authors, using a comparative approach, have focused on the relationship between contemporary performances in Oklahoma and Mississippi. Despite regional variations in performance practice, the Choctaws have sustained considerable continuity in their dance and music in this century, successfully resisting fierce pressure to assimilate and thereby lose all remaining vestiges of their culture. This is the first book-length study of Choctaw music and dance since 1943, with much new information on the dances. It will be welcomed by ethnomusicologists, dance ethnologists, students of Native American culture, anthropologists, folklorists, and anyone interested in American Indian dance.
Of the Five Civilized Tribes of Indians the Cherokees were early recognized as the greatest and the most civilized. Indeed, between 1540 and 1906 they reached a higher peak of civilization than any other North American Indian tribe. They invented a syllabary and developed an intricate government, including a system of courts of law. They published their own newspaper in both Cherokee and English and became noted as orators and statesmen. At the beginning the Cherokees’ conquest of civilization was agonizingly slow and uncertain. Warlords of the southern Appalachian Highlands, they were loath to expend their energies elsewhere. In the words of a British officer, "They are like the Devil’s pigg, they will neither lead nor drive." But, led or driven, the warlike and willful Cherokees, lingering in the Stone Age by choice at the turn of the eighteenth century, were forced by circumstances to transfer their concentration on war to problems posed by the white man. To cope with these unwelcome problems, they had to turn from the conquests of war to the conquest of civilization.
In 1830, U.S. troops removed nearly 17,000 Cherokee from their homes in the southeastern United States. Many were forced to move to Oklahoma in a journey called the “Trail of Tears.” Learn more in The Cherokee, one of the titles in the American Indian Art and Culture series.
Unto These Hills: A Drama of the Cherokee
In English, I’n-Lon-Schka means "playground of the eldest son." The dance, in which women are allowed only a peripheral role, celebrates traditional masculine values while helping to break down factionalism and feuding within the tribe. The participants, who now number in the hundreds, assemble each June in three Oklahoma communities-Pawhuska, Hominy, and Grayhorse-where the Dance Chairmen, the Drumkeeper (an eldest son of the tribe), and the dance organization have been preparing for the dance throughout the year. The I’n-Lon-Schka is religious in content and continues to establish conduct and ways of living for tribal members.