South Dakota State University Wacipi/Pow-Wow Guide. South Dakota State University Native American Club

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1 South Dakota State University Wacipi/Pow-Wow Guide South Dakota State University Native American Club WELCOME The South Dakota State University Native American Club, SDSU faculty and students, and the Brookings Community welcome you to our wacipi with a good heart and a sincere handshake. Visit our vendor booths, enjoy our home-made Indian tacos, relax and enjoy our wacipi. Please join us each year as we have new dancers and drum groups coming each year. This guide is published by the South Dakota State University Tiospaye Council. THE POW-WOW AND ITS MEANING The pow-wow or wacipi (meaning to dance and pronounced wa chee pi in the Dakota language) was originally an annual celebration where people would gather to sing, dance, renew old friendships, and form new ones. This was also an opportunity to honor individuals, conduct give-aways, hold naming ceremonies, and celebrate life. The wacipi is a social event with religious/spiritual elements at the beginning and in the event of a dropped Eagle Feather. The word pow-wow can be traced to the Algonquin languages and is believed to have been used by non-indians to mean a council meeting. Powwow is a universally accepted term used by tribal nations as a celebration of singing and dancing. Wacipis are for all ages and considered a family event. Wacipis are still very much a part of the lives of many Native Americans throughout Indian Country. Outdoor wacipis are held from June through September in this region, while indoor wacipis take place anytime of the year. There are two types of wacipis: traditional and competitive. In traditional wacipis, prize money is not awarded. Rather, wacipi monies are distributed to singers and dancers. Competitive wacipis pay out prize money for singers and dancers judged on how well they sing or dance. The SDSU Wacipi is a competitive wacipi. POW-WOW COMMITTEE The pow-wow committee consists of the SDSU Native American Club and its advisor. The club raises funds to pay for the wacipi from taco sales, gate sales, SDSU Student Senate funding, the Brookings community, and other fundraising efforts. All decisions about the pow-wow are made by the committee. MASTER OF CEREMONIES OR MC The Master of Ceremonies is at the heart of the wacipi. The MC often explains what is happening in the dance arena. The announcer explains culturally appropriate information to all in attendance. In addition to providing information and explanations, a Master of Ceremonies is often humorous and entertaining.

2 ARENA DIRECTOR The Arena Director lines up the dancers for Grand Entry as well as organizes the dancers, singers, and everything happening in the dance arena. THE GRAND ENTRY Spectators should always stand and remove hats during the Grand Entry, Flag Songs, honor songs, and the Invocation. Elders, handicapped people, and singers are the exceptions. The pow-wow begins with the Grand Entry. The procession is led by the Staff Carriers, Flag Bearers, Honor Guard, dignitaries, pow-wow royalty, and honored guests, followed by all of the dancers in their respective categories. Each dancer dances his or her style of dance. The Grand Entry is one of the highlights of any pow-wow/wacipi as all dancers dance in unison with the drum. The MC (announcer) will let you know when it is appropriate to sit down. TYPES OF SONGS There are songs for all aspects of the wacipi. Some songs have words, while some are vocables only. Each song has its own tempo and purpose. Songs are similar in that each song begins with the lead singer singing a lead solo followed by his drum group. Usually there are four such starts or pushups (verses) to a complete song. There are contest songs, honor songs, veteran songs, and intertribal songs. Most songs are not written, but passed down by oral tradition to be learned and mastered by the singers and dancers. TRICK SONG Trick songs are usually for fancy dancers and fancy shawl dancers. They are contests between singers and dancers during which the singers try to fool the dancers into missing beats or stopping suddenly. THE DRUM The drum is more than a musical instrument to those who own and play it. It has its own spirit. The drum represents the heartbeat of the people as well as the power of the thunder. Drums are respected, and various tribes have their own proper etiquette in regards to the drum. The drum is always treated as sacred and to be respected. If the wacipi has a singing contest, the contest is based on timing of drumbeats and singing. The drumbeats must be in perfect time, and each player must be in unison.

3 INTERTRIBAL DANCE Everyone is welcome to dance an intertribal dance. It is not as much a particular type of dance as it is a chance for everyone to dance. Intertribal dances move around the arbor clock-wise. No regalia is required, and street clothes are fine. The basic step is the same one used by traditional dancers; the ball of one foot is tapped on one beat and placed down flatly with the next. The action is repeated on the opposite foot without missing a beat. MEN S TRADITIONAL DANCE The men s traditional dance began when warriors would return to their villages and use dance to reenact their war deeds and exploits. The traditional dancer s regalia incorporates items and symbols that represent honors the dancer has earned. The traditional dance outfit is more subdued in color than that of other dancers. Frequently, it is decorated with bead and quill work. Years ago, if dancers earned enough eagle feathers through good acts and brave deeds, they might have enough feathers to make a dance bustle or a war bonnet. Dancers are judged on how well they keep time to the music and follow the beat of the drum. As each drumbeat hits, they must have one foot on the ground. They must stop with the music with both feet on the ground. In today s pow-wows, there are Northern traditional dancers and Southern straight traditional dancers. MEN S FANCY DANCE The fancy dance is relatively new. The brilliantly colored feather bustles are thought to have originated in Oklahoma in the early 1900 s when promoters asked dancers to beautify their outfits. Dance contests with cash prizes were then introduced, and contestants began to make their outfits more colorful as a result. The fancy dance is danced mostly by boys and young men. Based on the standard double step of the traditional and grass dances, it deviates with fancy footwork, increased speed, acrobatic steps and motions, and more varied body movements. The fancy dance is a freestyle dance. Dancers do whatever they can to keep up with the music. They must follow the changing beat of the drum and stop when the music does with both feet on the ground. MEN S GRASS DANCE The grass or Omaha dance originated with the Omaha Tribe, probably in the 1860 s. It is very popular. Outfits feature colorful fringes which have replaced the grasses originally tucked into belts. Many dancers wear hair roaches, crow-belts, and eagle-bone whistles, which were originally emblems of the Omaha Society. Today many tribes have adopted the grass dance style of dancing. As in most powwow dances, a grass dancer moves both feet in a similar pattern and stops on time with the drum.

4 WOMEN S TRADITIONAL DANCE In the mid 1800 s, beads were acquired through trade. The women s traditional dance outfit then featured beading on the entire top of the dress. The design of each dress has a symbolic meaning. The dresses are decorated with ribbon work, elks teeth, and shells. The dancers usually wear decorated moccasins, knee-high leggings, beaded or concho belts, and jewelry such as hair ties, earrings, chokers and necklaces. Most traditional dancers wear or carry shawls while some carry eagle or hawk-feather fans. Traditionally, women danced only the women s traditional dance and only to certain songs. The women s traditional dance is relatively new as a competition category. It consists basically of remaining stationary and bending the knees with a slight up and down movement of the body. The feet shift subtly, and the women turn slightly. Some believe that this suggests the way women turned to look for warriors to return. At points in the song, women may hear words that have special meaning to them. They may signal their pride and acknowledge these words by raising their fans. Some women raise their fans during the honor beats of a song. The woman s traditional dance is both graceful and beautiful. WOMEN S FANCY DANCE The women s fancy shawl dance is quite new as a dance competition category. The fancy shawl dance outfit consists of a decorative knee-length cloth dress, beaded moccasins with matching leggings, a fancy shawl, and pieces of jewelry. The dance is similar to the men s fancy dance, and the style is evolving toward more movement, especially spinning. Footwork is the chief element of the dance. JINGLE DRESS DANCE The jingle dress dance evolved from Mille Lacs, Minnesota, according to one account. In a holy man s dream, four women wearing jingle dresses appeared before him. They showed him how to make the dresses, what types of songs went with them, and how the dance was performed. Upon awakening, he and his wife made four of the dresses and called in the four women in his dream who wore them. The women were then told of the dream and instructed in how to dress and dance as the dream women had. The dance was immediately popular and soon spread throughout the Chippewa/Ojibway territories. In the late 1920 s, the White Earth people gave the jingle dress to the Dakota and Lakota. It spread westward into the Dakotas and Montana. The jingle dress cannot be mistaken. It is made of cloth with hundreds of metal cones or jingles covering it.

5 A DROPPED EAGLE FEATHER During an Eagle Feather Ceremony, spectators should stand and remove their hats. Picture taking is not permissible. To Dakota and Lakota people and to most Native Americans, the eagle feather is sacred. When an eagle feather falls from a dancer s outfit, the pow-wow stops, and a special ceremony is performed. Please be respectful during these times. The MC usually explains what is happening. The ceremony is performed by four traditional dancers, usually veterans (warriors who have earned the privilege), who dance around the feather. They approach the dropped feather from the four directions and attack, usually four times. For many tribes, four is a sacred number symbolizing, among other things, the four directions. When the feather is retrieved, a prayer is said. If the person who dropped it wishes the feather returned, it is customary to gift the four dancers, the drum performing the song, and sometimes the pow-wow committee. If the feather is not claimed, the person who picked it up may give it to someone he feels deserves it. Different tribes have different customs. In some traditions, the eagle feather is looked upon as a protector, and its accidental dropping is similar to the American flag touching the ground. Other traditions simply have a veteran pick up the feather and return it after the prayer and the gifting. SPECIALS Chicken Dance: this dance originated with the Blackfeet Nation. Crow Hop: this dance has a special beat and is used to highlight the footwork and moves of dancers. Switch Dance: in this dance, men and women exchange regalia and dances. Round Dance, often called a friendship dance: this is done by people joining together in a circle and dancing to the appropriate song, moving clockwise. Rabbit Dance or Kahomni: in this dance, men and women dance together. HONOR SONG Spectators should always stand and remove hats whenever there is an Honor Song. As the name suggests, honor songs are requested at a pow-wow to honor a person or people. A family might request an honor song for a returning son or in memory of a deceased relative. Honor songs can be made for almost any occasion. In some traditions, people with native names have their own songs which are used when they are honored. In other instances, there are generic honor songs for people The pow-wow committee usually decides when honorings take place. Any special requests are addressed to the committee. There is usually an honorarium paid to the singers of the honor song as well as a gifting to the committee for allowing the honor song.

6 HONORING VETERANS Respect for veterans is an integral part of Native American cultures. Veterans are honored because they are willing to give their lives in defense of their nations. Veterans are flag-bearers, and they retrieve dropped eagle feathers. They are honored with a multitude of songs. THE GIVE-AWAY The give-away is thought to be universal among Native American people. Unlike societies where one expects to receive gifts for accomplishments, the Native American society holds that a person being honored should have a give-away and provide gifts. Today, give-aways by people being honored or in honor of someone else are common at pow-wows. DO S AND DON TS The term costume is not used and is considered derogatory by many. The proper term is regalia. Do feel free to take pictures of the wacipi such as during the dance contests or the Grand Entry. The MC will advise when it is not appropriate to take pictures. Please ask permission prior to taking individuals pictures. Do come to the meal provided by the committee; it is for all pow-wow attendees. Native American hospitality requires sharing a meal together and feeding all our guests. Please join us. Be respectful of the drums. Do not touch or approach drums unless permission has been granted by someone at the drum. Most drum groups allow recording of songs. The MC will advise if there is no recording of certain songs. Do not touch dances regalia unless permission is given. Different tribes have rules about the touching of eagle feathers etc. Do come out and dance the intertribals. Be a part of the wacipi. No drugs or alcohol are allowed. All SDSU facilities are smoke free. SDSU and the SDSU Native American Club are not responsible for theft, vandalism, or accidents.

7 THE EAGLE-FEATHER FAN The eagle is my power, And my fan is an eagle. It is strong and beautiful In my hand. And it is real. My fingers hold upon it As if the beaded handle Were a twist of bristlecone. The bones of my hand are fine And hollow; the fan bears them. My hand veers in the thin air Of the summits. All morning It scuds on the cool currents; All afternoon it circles To the singing, to the drums. - N. Scott Momaday