Pow-wow is a Native American cultural gathering held annually to celebrate and honor the tribal customs and cultural connectedness. The term pow-wow has originated from the word powwaw, a native Indian word which means a “healing ceremony” led by spiritual or religious leaders from different tribes (Schweigman, et al, n.p.). While there is no clear evidence when the pow-wow started, it is believed to have originated from the Pawnee tribe where their religious ceremonial meeting includes dancing and other rituals. Since then, other Indian tribes have adopted the ceremony and integrated their own traditions. The Indians have practiced this ceremonial gathering to celebrate their success in hunting, and to thank the spirits in their abundant harvest. It is also part of the preparation for an approaching battle among tribes. Native Americans believe that the life and death of all things, both living and spiritual, is an inevitable circle. This is the reason why they celebrate this circle through dancing, singing, chanting, and traditional healing rituals (Indians.org, n.p).
Pow-wows usually happen in varied events, from one-day to even a week-long celebration which is sponsored by tribal organizations, Native American communities, or student associations taking a program on indigenous American studies (O’Brien, .n.p). The event incorporates traditional activities such as songs and dances (Schweignman, et al, n.p.).
Because pow-wows entail a myriad of activities, a committee takes charge of organizing the event that often takes months or even a year to prepare. The pow-wow committee operates to recruit and choose the manpower, promote the event, secure the location, and even recruit vendors to sell food at the event. Pow-wows are also composed of a team that leads the actual event. They are chosen based on their impact on the participation of the audience and based on their ability and dedication to the cultural gathering. The head of staff runs the event on the day itself while the whip man or the more commonly known as the director of arena oversees the event and ensures that the dancers dance and the drum groups are aware of the songs to play. Also, the director of director is in-charge of organizing the activities as part of the pow-wow including the dropping of eagle feather, and ensuring the dance arena is used by visitors with proper respect (Schultz, n.p.).
Aside from the director and the head of staff, the Master of Ceremonies (MC) also plays an important role in pow-wows. He erves as the emcee or the main facilitator of the event, ensuring that the performers, the singers and dancers, as well as the public are informed on the event. He arranges the schedules of activities, and look after the sequence of the drum groups. He also ensures that there are no blank intervals through cracking of jokes or initiating contests with cash prizes (Schweigman, et al, n.p).
The head male, woman, teen, little boy and litte girl, golden age, and gourd dancer or the main dancers or known as head dancers lead the parade of dancers or called as the Grand Entry that cues the opening of the pow-wow. They lead the dancers during the songs and prompt the entry of other dancers when they are performing. Aside from the dancers, the host drums as well as drum groups provide the music that maybe utilized for the dance contests and other related pow-wow activities. Traditional songs are also sung during the event. These groups play a customized drum for a large number of people.
Also known as drums, the group mainly plays the used by the dancers. The drums have lead singers responsible for songs from the start until the end of the pow-wow session. They are assigned to sing songs in the grand entry, as well as flag songs, veterans or victory songs, flag song, retreat song, and the closing song. They also sing special songs when they are requested to (Schultz, n.p.).
Pow-wows are set up in large circles where there are assigned areas for the dancing area, the table of the master of ceremony, groups of drums, and the dancers and other attendees’ sitting corner or bleachers. There is also an area beyond the circles for spectators, and outside the circles are designated for booths where the participants can purchase something to eat and other merchandise (Glasner, et al, n.p; Schultz, n.p.).
Pow-wow sessions commence with the Grand Entry led by the Eagle Staff, with flags, and the dancers, as the host drums perform the opening song. Military veterans or current military servicemen present in the pow-wow could hold the flags. The head dancers, along with the other dancers’ in particular order (men’s customary dance, men’s grass dance, men’s fancy, women’s jingle dance, women’s traditional, and women’s fancy dance) follow them. Teen and children dancers would also follow the same manner as the men and women. A well-recognized respected member of the community will lead an invocation after the grand entry parade to be followed by the national anthem, then a veterans or victory song. This will be followed by the series of dances by men, women, teens, and children. There is also an open dance, the intertribal dance is amongst the popular one which can be danced by everyone while the Drum sings a song. There are also dance contests for particular age groups or dance styles that require the dancer to be in regalia suited for the contest. Winners receive cash as prize for the contests. Categories for the dance vary based on the regions (Glasner, n.p.).
Pow-wow sessions play pow-wow music which comprises of Native American drumming, singing and dancing. There are many genres of pow-wow music; many are unique among tribes (Chris, n.p.). Drums are essential to pow-wow; so as the songs. For Drums, respected family members in the community are often assigned to play the drums. Drums play the “hard beats” to stress on various sections of the song. Hard beats manifest in both traditional methods (the pronounced strike every other beat) and the hot five (five beats are utilized), respectively (Hatton, 1974). In terms of singing, Chris (p.86), explains that most of the songs’ lyrics uses vocables with syllable sounds such as “ya”, “hey”, and “loi.” Depending on the region, singing may either employ high falsetto or lower range.
Pow-wow entails etiquette with respect to the ceremony. Taking pictures are not allowed during the Grand Entry. Regalia’s should not be regarded as “costumes,” and touching the drums and other instruments are not allowed, especially to those who are not part of the Drum (Powwows Calendar, n.p.).
Pow-wows have also evolved now, as it became more of a festival-type, open to general public. In an article by Lisa Goldberg in The Sun, attendees, who have and do not have Native American blood, have come to appreciate the cultural event and understand history. It has become a good avenue to teach the public, and reunite those who have Native American blood (n.p).
This cultural gathering signifies the continuing legacy of Native Americans in the American culture. It cannot be discounted that pow-wow exhibits the rich indigenous culture of Americans hidden and often distorted by pop culture; thus, the challenge remains ensuring this tradition would be passed from generation to generation so that history would not be forgotten.
Works Cited
"Etiquette Culture." Powwows-Calendar-Native American. N.p., n.d. Web. 20 Apr. 2016.
Glazner, Chris, et al. Southern Native American Pow Wows. N.p., n.d. Web. <library.thinkquest.org/3081/arena.htm>.
Goldberg, Lisa. "Powwow rhythms unite native souls ; Gathering: Music, dance and customs draw those with American Indian blood or interest to a celebration of culture at the Howard County Fairgrounds." The Sun [Baltimore, MD] May 2005: n. pag. Print.
Hatton, O. T. "Performance Practices of Northern Plains Pow-Wow Singing Groups." Anuario Interamericano de Investigacion Musical 10 (1974): 123. Print.
Indians.org. N.p., 2016. Web. <www.indians.org/articles/powwow.html>.
O'Brien, Frank. "Chapter 10: Spirit Names and Religious Vocabulary." Orrin's Website. N.p., n.d. Web. 20 Apr. 2016.
Roberts, Chris. Powwow Country. Helena: American & World Geographic Pub, 1992. Print.
Schultz, Becky. "Native American Powwow History-2 Culture." Powwows-Calendar-Native American. N.p., 2001. Web. 20 Apr. 2016.
Schweigman, Kurt, Claradina Soto, Serena Wright, and Jennifer Unger. "The Relevance of Cultural Activities in Ethnic Identity Among California Native American Youth."Journal of Psychoactive Drugs 43.4 (2011): 343-348. Print.
