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This book describes the musical culture of the Northern Haida Indians, who speak two closely related dialects. One dialect group lives on Graham Island, British Columbia, the other on Prince of Wales Island, Alaska. The recordings on which the book is based were compiled over a period of more than a decade from a wide variety of historical and contemporary sources. Representing the entire range of the Haida musical tradition-a tradition that nearly died out and is currently being revived-this volume documents its changes over more than a century. Part 1 is a lengthy ethnographic description of musical genres that situates Haida music in the context of the Northwest Coast. Part 2 presents 128 songs, fully transcribed and analyzed and representing some twenty types, ranging from traditional genres such as peace-making and mourning songs to songs of personal expression composed during the modern period. Part 3 is a detailed musical and linguistic analysis of the songs presented in the second part. The integration of descriptions of these two facets of song-music and language-is the particular goal of the book. The volume is a substantive contribution to the ethnomusicology of native North America and will be of special interest to scholars concerned with vocables in Native American music. John Enrico has been engaged in linguistic research on the Haida language since 1975. His publications include The Lexical Phonology of Masset Haida and articles on aspects of Haida grammar. Wendy Bross Stuart's first ethnomusicological publication was Gambling Music of the Coast Salish Indians. In 1980 she began collaborating with John Enrico in the transcription and analysis of Haida songs.
Take a journey into the heart of Haida culture as it is lived and experienced by an extraordinary woman of the Tsath Lanas Eagle Clan. Pansy Collison, a Haida woman born and raised in Old Massett on Haida Gwaii, tells stories of her clan and community, as well as personal narratives about her history and family. Haida Eagle Treasures embodies a strong Haida woman’s voice, offering a rare glimpse inside Haida culture. Each story and memory is a treasure that captures part of the beauty of the Haida worldview and way of life. Now retired, Pansy taught for 23 years at elementary, secondary, and college levels. From these experiences, she describes some of the challenges and contradictions of living between two worlds. Pansy’s teaching skills, artistic talents, and political affiliations keep her involved in politics and education on Haida Gwaii. Thirteen original illustrations by Pansy’s brother, Paul White, a gifted artist, teacher, pole carver and designer, provide the guideposts within Haida Eagle Treasures.
This book is a one-stop reference resource for the vast variety of musical expressions of the First Peoples' cultures of North America, both past and present. Encyclopedia of Native American Music of North America documents the surprisingly varied musical practices among North America's First Peoples, both historically and in the modern context. It supplies a detailed yet accessible and approachable overview of the substantial contributions and influence of First Peoples that can be appreciated by both native and nonnative audiences, regardless of their familiarity with musical theory. The entries address how ethnomusicologists with Native American heritage are revolutionizing approaches to the discipline, and showcase how musicians with First Peoples' heritage are influencing modern musical forms including native flute, orchestral string playing, gospel, and hip hop. The work represents a much-needed academic study of First Peoples' musical cultures—a subject that is of growing interest to Native Americans as well as nonnative students and readers.
Since Europeans first encountered Native Americans, problems relating to language and text translation have been an issue. Translators needed to create the tools for translation, such as dictionaries, still a difficult undertaking today. Although the fact that many Native languages do not share even the same structures or classes of words as European languages has always made translation difficult, translating cultural values and perceptions into the idiom of another culture renders the process even more difficult. ø In Born in the Blood, noted translator and writer Brian Swann gathers some of the foremost scholars in the field of Native American translation to address the many and varied problems and concerns surrounding the process of translating Native American languages and texts. The essays in this collection address such important questions as, what should be translated? how should it be translated? who should do translation? and even, should the translation of Native literature be done at all? This volume also includes translations of songs and stories.
In 1884, the Canadian government enacted a ban on the potlatch, the foundational ceremony of the Haida people. The tradition, which determined social structure, transmitted cultural knowledge, and redistributed wealth, was seen as a cultural impediment to the government’s aim of assimilation. The tradition did not die, however; the knowledge of the ceremony was kept alive by the Elders through other events until the ban was lifted. In 1969, a potlatch was held. The occasion: the raising of a totem pole carved by Robert Davidson, the first the community had seen in close to 80 years. From then on, the community publicly reclaimed, from the Elders who remained to share it, the knowledge that has almost been lost. Sara Florence Davidson, Robert’s daughter, would become an educator. Over the course of her own education, she came to see how the traditions of the Haida practiced by her father—holistic, built on relationships, practical, and continuous—could be integrated into contemporary educational practices. From this realization came the roots for this book.
First Published in 1997. The present volume contains references and descriptive annotations for 1,497 sources on North American Indian and Eskimo music. As conceived here, the subject encompasses works on dance, ritual, and other aspects of religion or culture related to music, and selected "classic" recordings have also been included. The coverage is equally broad in other respects, including writings in several different languages and spanning a chronological period from 1535 to 1995. The book is intended as a reference tool for researchers, teachers, and college students. With their needs in mind, the sources are arranged in ten sections by culture area, and the introduction includes a general history of research. Finally, there are also indices by author, tribe, and subject.