A Note on Zuni Substance
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A Note on Zuni Substance.
The term ‘substance’ in Western metaphysics is commonly used to indicate the permanence of a substratum, whether extended or non-extended, which underlies and constitutes reality. Its extension is manifest in the appearances of the physical world, and its non-extension may refer to its coming to be and passing out of existence, i.e. the concept of change. Other terms which may be intimated in a discussion of substance may include but not be limited to “matter”, “time”, “space”, “being”, “cause and effect”, etc. This synopsis of substance may seem to be overly generalized (actually, it is), but is intended here simply to illustrate a dichotomy in Western thought which is not intrinsically appropriate to the study of the Native Americans, except perhaps by contrast, and more particularly to the study of Native American languages, which have no means of expressing the distinction between, for lack of better terms, “spiritual” and “non-spiritual” matter.
In the Zuni language, the noun “/a” means “stone” or “rock” (the “/” represents a glottal stop). As a transitive verb, “/a” refers to “being depressions in rocks”, but as Newman noted, “/a” belongs to a class of verbs “which are statics referring to the existence of an entity or quality” and “English translation fails to demonstrate convincingly that a verb of this type is transitive”. Thus, “being depressions in rocks” could be translated as “a depression is”, or “there is a depression”, or “it has a depression”. This may predispose one to interpret an apparent confusion of the substantive and predicative (Cushing noted this in Zuni Fetishes). As an intransitive verb the meaning of “/a” is a demonstrative “be prone”, or “be laying”, indicating location, and belongs to the same class of verbs denoting static entities where the direct object of the verb becomes indefinitized.
The term “/a” has also been translated as “stone” when it appears as a prefix in the transitive verb “-po/ya”, a term which means “to cover”. InZuni Ceremonialism Bunzel translates “/a -po/yanne” as “stone cover” (meaning ‘sky’), a term which Newman translates as simply “sky”. The suffix “-nne” means singularity.
This same term was translated by Cushing as a verb meaning “all covering” in reference to “/A –po/yan Tatcu”, which means “Father Sky”. Cushing’s intention was “all-covering Father”. This later use is in accord with the presence of “/a” in the form of the inflectional prefix “/a.w-‘, a verbal pronominal prefix for a plural absolutive, where “.w-” is dropped when appearing before a consonant. This use of inflection is also correct in referring to nominal particles indicating kinship terms, names of animals, demonstratives, numbers, and indefinites, and the presense of “/a” in this use is that of a word, not a syllable. “/A -po/yanne” would not be a particle, whereas “/a -po/yan tatcu” would be.
However, this use of inflection in a particle is in contrast to the translation of such particles as “/A –pi/la shiwani”, which means ‘bow priests”. The correct inflection of “pi/la” is “pi/la we/”, but in the compound of the particle the inflection is denoted by the prefix “/a” which is a word meaning plurality of an indefinite number. As Miner notes, this is a rare use and the inflection is generally affixed to the head term, as in “tehli-ya-ka /a-shiwani” (night priests), or “tehli-ya-ka /a-tatcu” (night father, notice the convergence of plurality and singularity, i.e. there is but one night father and he exhausts a class).
One might interpret Bunzel’s translation as being influenced by her considerable contact with Zuni folklore, and Cushing’s translation due to his membership with the /A -pi/la shiwani and considerable knowledge of Zuni mythology. Bunzel had criticized Cushing’s translations as “metaphysical glossing”, but the accuracy of that claim in regard to “/A –pi/la shiwani” remains unseen. It should be noted that Bunzel’s translation of “/a –te-ona” in Zuni Ceremonialism as “beings” is tantamount to translating it as “all (/a) those whom are (ona) terrestrial (te), and was intended to exhaust the class, just as Cushing’s translation of “/A –po/yan Tatcu” was intended to exhaust the class (there can be only one father sky). It should also be noted that Cushing may have confounded (or compounded) his usage of the plural absolutive with the separate, derivational use of “/a” which pluralizes particles referring to persons (/a –hoi).
In conclusion, the common usage and multi-referentiality of the word “/a” lends ambiquity to the interpretation of many words and may possibly represent preconceptions which semantically transcend any dichotomy of spiritual and non-spiritual matter.
THE SUMMER EXPERIENCE: Charlotte NC, Music, art, dance and theater camp offered by The Arts Experience, Concord-based nonprofit arts education organization. Monday through Friday, Cannon School, 5801 Poplar Tent Road. Theme: "An American Tribute." Thursday, Native American storyteller Barbara Locklear. Half-day camp for rising kindergarten through first grade ($100); full-day camp for kindergarten through eighth grade ($175). (704) 795-2787 or www.ArtsExperience.org.
WILD WEST RODEO DAYS: June 24-26 at the Racine County Fairgrounds, WI, Highway 11, Union Grove. Highlights include championship professional rodeo, 7:30 p.m. June 24-25 and a concert from country singer Steve Azar at 9:30 p.m. June 25. Other events include horse shows, reining demonstrations, Country Star Contest, clown comedy acts, pony rides, Cowboy Kids Clinic, Rodeo Princess Pageant and Native American Pow Wow. Tickets are $10 per day for adults, $7 for seniors and free for children 12 and younger with a paid adult. Parking is free. ProRodeo and concert tickets are an additional $5. Discounted advance tickets available in Union Grove at Martin's Chrysler-Dodge, 1422 Main St.; Piggly Wiggly, 4400 67th Drive.; and Old Settler's Inn. Call 695-2894, Ext. 102, or visit www.impactmarketingevents.com.
The Lewis & Clark Interpretive Center and Fort Mandan near Washburn, N.D., are presenting daily programs on various aspects of the expedition and Native American culture. The presentations are at 11 a.m. and 2 p.m. in the center and 1 and 3 p.m. at Fort Mandan.
Food and clothing aspects of the journey also will be investigated. Native American culture will be showcased in "Mandan Gardening," explaining the importance of gardening in the 1800s. "Teton Sioux Culture" explores the lifestyle of one of the many tribes the explorers encountered, and "Native American Games" reveals how the travelers entertained themselves while "Sacagawea" answers questions about the only woman on the expedition.
The fee for the program is included in the $7.50 admission to the Interpretive Center and Fort Mandan. Students (kindergarten through college) are $5 and members are free.
For information and schedules, visit www.fortmandan.com or call Kevin Kirkey at (877) 462-8535.
Reconciling indigenous knowledge with academia-
Indigenous Knowledges: Reconciling Academic Priorities with Indigenous Realities will be held at Victoria University’s Pipitea Campus from 22–25 June. The conference, which is being organised by He Parekereke, in the University’s School of Educational Studies, and is supported by Government-funded Centre of Research Excellence, Nga Pae o te Maramatanga (the National Institute of Research Excellence in Maori Development & Advancement).
The key note speakers are:
Professor Leroy Little Bear, Native American Studies Professor at the University of Lethbridge, who is a member of the Blackfoot Confederacy in Canada. Professor Little Bear has authored numerous articles, including ‘A concept of Native Title' which was cited in a Canadian Supreme Court decision, and co-authored several books including Pathways to Self-Determination. His current research interests include the exploration of North American Indian science and Western physics, and the exploration of Blackfoot knowledge through songs, stories, and the landscape.
Professor John Mohawk, of the Iroquois Confederacy, is an author and Professor in the Center for the Americas at the State University at Buffalo, New York. He is the Founder and Director of the Iroquois White Corn Project and the Pinewoods Cafe. These projects promote and sell Iroquois white corn products and foods to revitalise indigenous agriculture, reintroduce the traditional Iroquois diet, and support contemporary indigenous farmers. Professor Mohawk has a long history as a writer and editor, and has received the Native American Journalism Association Best Historical Perspective of Indigenous People Award (2000 & 2001).
Professor Linda Tuhiwai Smith (Ngati Awa, Ngati Porou) is Co-Director of Nga Pae o te Maramatanga and Professor of Education at the University of Auckland. Formerly the Director of the International Research Institute for Maori and Indigenous Education, her research interests are in the broad field of Maori education, research methodologies and youth research.
June 25: National Center for Great Lakes Native American Culture, Jay County Fairgrounds, Portland, Indiana; Native American drumming, singing and dancing demonstrations, vendors; all day; 765-572-2574.
BROWNING, Montana — Just like modern-day soldiers, early Plains Indians were adept at armoring their bodies for battle. Long before Kevlar vests, Blackfeet fighters repelled stone-tipped arrows with "war shirts" laced with a protective — and often richly decorative — weave of porcupine quills. Modern-day connoisseurs of military garb and lovers of authentic Native American artistry normally look to museums for a peek at these precursors to the bulletproof vest. Finding one for sale has always been trickier — until now. An authentic war shirt made by a modern Native artist is among the thousands of traditional and contemporary Indian art pieces for sale at the new Blackfeet Heritage Center and Art Gallery in Browning. The center is located on Highway 2, a convenient stop for the estimated 2 million visitors who enter Glacier National Park each year via the Blackfeet Reservation. And it's across the street from the Museum of the Plains Indian, a well-established venue for Blackfeet artifacts and art, and the North American Indian Days powwow grounds. The July 7-10 powwow, one of the largest in the region, is an intriguing way to observe authentic Blackfeet traditions.
Lowell Area Arts Council, 149 S. Hudson St., Lowell, MI -- "Heart of a Drum" runs through July 23. Exhibit features art and writings created by Native Americans of the Great Lakes region. Gallery hours are noon-5 p.m. Tuesday-Friday, 1-4 p.m. Saturday.
Ohio University Gallery, Athens -- Kennedy Museum of Art, Lin Hall at the Ridges: "The Bragro Experience: Seating with Honour to Motherhood"; "Weaving Is Life," Navajo textiles from the Edwin L. and Ruth E. Kennedy Southwest Native American collection; 740-593-1304.
Pacific Grove Museum of Natural History, 165 Forest Ave., Pacific Grove. Impressive exhibits include Native American artifacts, the Monarch butterfly, mammals, birds, reptiles, geology and a native plant garden. 648-5716.
National Museum of the American Indian
National Powwow
Actual Location MCI Center, 601 F Street NW, Washington D.C. 20004
Event Dates August 12, 13, 14, 2005
*Vendor applications will be ready for distribution within the next
couple of weeks. We will allow ample time, approx. 2 months for vendors
to apply. Justin Giles will be the point of contact for vendors and he
is currently taking names and info and will send application forms when
ready.
*General Contact*
Number 877-830-3224 or 301-238-3023
nmainationalpowwow@si.edu
www.americanindian.si.edu
(webpage in development-email announcement to staff when complete)
Artists re-imagine native styles
"Fusing Traditions: Transformations in Glass by Native American Artists," on display at the Rockwell Museum of Western Art in Corning, exhibition introduces the first generation of Native American studio glass artists to re-imagine their cultural art forms: beadwork, pottery, masks, spindlewhorls, dance wands and hats.
Eighteen artists fused cultural heritage and individual creativity into dazzling new glass forms for this traveling exhibition featuring 37 artworks. The show was organized by the Museum of Craft & Folk Art in San Francisco.
The museum is on the corner of Denison Parkway and Cedar Street in Corning. Summer hours: 9 a.m.-8 p.m. daily. Details: www.rockwellmuseum.org.
Lilly Vigil Gallery, 214 Broad St., Nevada City: A collection of Native American art and jewelry is on display continuously. View during business hours. 265-5790.
OAK RIDGE, TN-the Children's Museum of Oak Ridge offers a whole school of fun with 12 interactive exhibit areas that intertwine the arts, history, science and the environment in nontraditional exhibit galleries. Within the 54,000 square feet of this original Manhattan Project schoolhouse, children can dig coal in an Appalachian mine, shoot boats down the waterways through the locks and stop to smell the bromeliads in the rain forest.
Dolls from all over the world are displayed throughout the museum: colorful souvenir dolls from Brazil, Native American dolls in traditional dress, life-size puppets and others.
"HOME: Native People in the Southwest" at the Heard Museum: The Heard ends a yearlong celebration of its 75th anniversary by opening a huge new gallery that houses a larger and improved exhibition of Southwestern Native American art. The new exhibition organizes 2,000 objects by tribe instead of type, includes maps of each tribe's ancestral and modern lands, information about their history, and excerpts of interviews with living members of the tribe. The result is that "HOME" feels less like a showcase of treasures amassed on the cheap by rich white people and more like an explanation of the still-living cultures that produced them. Through 2020. Heard Museum, 2301 N. Central Ave., Phoenix, 602-252-8848.
High Desert Museum (Bend): 59800 S. Highway 97 (541-382-4754). The museum features detailed indoor exhibit areas that include "By Hand Through Memory," a permanent exhibit of Native American artistry by Doris Swayze Bounds; visual-arts displays; and walk-through dioramas on the history of the American West. Outdoor areas feature a walk-through pioneer homestead and a historic working sawmill. The viewing area for a river otter features both inside and outside vistas. Meet a porcupine or learn more about the region's birds and their feeding habits. Hours: 9 a.m.-5 p.m. daily except major holidays; $7-$12 (good for two days); www.highdesertmuseum.org.
ROYAL OAK, Mich., June 6 /PRNewswire/ -- Come and celebrate the Detroit Zoo's Native American Festival on October 8-9. This cultural event is part of the Summer Festivals at the Detroit Zoo ... Like Nowhere Else presented by Pizza Hut.
The Summer Festivals continue on select days through October 9, 2005 and each one celebrates different ethnic groups on weekends. One ethnic group per month will be featured with a weekend of fun cultural activities. Each weekend will include entertainment, authentic style food, arts and crafts and a cultural community resource area.
Turtle Island A new puppet
show based on Native American legends. Presented every Saturday in May at PuppetART, Detroit. Tickets: $5/children, $7/adults. 313-961-7777. www.puppetart.org.
Artrain USA kicks off Michigan tour
ANN ARBOR Ð Artrain USA has announced a nine-city Michigan State Tour that kicked off May 14 in Petoskey. The Michigan Tour will take the exhibition "Native Views: Influences of Modern Culture" throughout Artrain USA's founding state.
Michigan Tour dates are Harrisville, Oct. 1 to 4; Standish, Oct. 7 to 10; West Branch, Oct. 13 to 16; Owosso, Oct. 20 to 23; and Grand Haven, Oct. 29 to Nov. 1.
"We are thrilled to be sharing our 'Native Views' exhibition in our home state. Touring in Michigan is always a highlight along our national tour route. It is a chance to return to our roots and strengthen our legacy. This tour is a salute the arts in Michigan and the 'Native Views' exhibition is a celebration of the outstanding contributions Native American artists make in our society," said Debra Polich, president and CEO of Artrain USA.
Native Views is a contemporary Native American art exhibition comprised of 71 artworks by 54 Native American artists. It explores the influence of popular culture and the many commonalties shared by all Americans.
Artrain USA is "America's Hometown Art Museum." A nonprofit organization, Artrain is an art museum housed in vintage rail cars that travels via the nation's railroads. More than 3 million people have visited Artrain USA during 780 community visits across 45 states. Founded in Michigan in 1971 by the Michigan Council for the Arts, Artrain USA's national headquarters is in Ann Arbor.
For more information please call 800-ART-1971 or www.ArtrainUSA.org.
Wichita Art Museum, an exhibit, "Prints by Woody Crumbo"
At the Wichita Art Museum, an exhibit, "Prints by Woody Crumbo," celebrates his legacy with 18 color serigraphs depicting Native American ceremonies. Crumbo died in 1989.
The prints will be on view in the foyer above the museum's River Room interactive gallery through July 31.
Admission to the Wichita Art Museum, 1400 W. Museum Blvd., is $5, discounts available. On Saturdays, admission is free. For more information, call 268-4921.
From: "ghwelker" ghwelker3@comcast.net
Subject: Zuni people understand Japanese
Zuni language (of the 12 Pueblo tribes of the southwestern US, this language is unique in it's sound and structure)
Just thought this might be of interest to since it sounds like Japanese!
This is why I am so much interested in linguistics: to understand how we are all related. There are many connections!
Glenn-Indigenous Peoples Literature
"Keshi" = Hello in Zuni language
This page is very good!:
The work of Nancy Yaw Davis
http://www.1421.tv/pages/evidence/content.asp?EvidenceID=27
Zuni people understand Japanese (Jim Tanner; Nancy Yaw Davis;
Barbara Vibbert) E.g. the Zuni word for deer is `shohita' which is similar to the Japanese word shika The linguistic parallels between the Zuni and Japanese are quite startling and many more examples can be found.
Here are just a few: English = to be inside, Zuni = uchi, Japanese = uchi. English = leaf, Zuni = ha, Japanese = ha. English = yes, Zuni = hai, Japanese = hai. English = to wake up, Zuni = okwi, Japanese = oki (ru)
The Zuni for Flute mountain is Shohko yalana whereas the Japanese shakuhachi yama means "flute" and "mountain".
Matsaki is the name of a Zuni village and it is also a common place name in Japanese which refers to pine trees.
The Japanese kangi (written symbol) for rice field is found in petroglyphs near Zuni. Zuni = bitsu (meaning an important deity) is similar to the Japanese butsu meaning Buddha.
Peaches – Prunus persica. The origin of the peach is China, where it has been cultivated since the early days of this ancient culture. The peach is generally believed to have been brought to America via the Spanish conquest.
Nancy Yaw Davis, in her book "The Zuni Enigma", however contends that the Spanish invaders, on coming into contact with the Zuni tribe of the Southwest found that peaches had been long cultivated there. This hypothesis is supported by archaeological excavations discovering peach pits that were believed to predate the arrival of the Europeans to America. The Zuni word for peach is mo:chiqa ("mo" = round object, "chiqa" = sweet). This cannot be seen to correspond with the Spanish word for peach "duranzo" or "melocoton" but it does with the Japanese word for peach "momo".
Zuni is a unique language not understood by any neighboring people. Because of these differences phonetic and morphological barriers hinder acquisition of English. English has twenty-six letters with 48 sounds, and Zuni has twenty-six characters that produce forty different phonemes. Zuni language does not have r, x, v, z, f, g, j, th, or wh. This is a problem with second language learners. Then the Zuni language has l, ch', ts, k', and ky sounds that are unknown in English (the ' is a glottal stop).
The barred l (lateral affricative) found in many Zuni words sounds something like "thl". This is produced with the tongue touching the alveolar ridge, and the air must escape freely around the sides of the tongue: release the l immediately and smoothly into the sounds, which follows with no voiced l in between. In English this would sound like a lisp.
The English sounds of t and d are acceptable phonemes in Zuni. The difference is that the Zuni t is not voiced and occurs in the middle position within words. The Zuni d is voiced and happens in the initial position of words. The Zuni sound is made in the mouth with the tongue blade anterior to the alveolar ridge, and not with the tip of the tongue as T and d is sounded in English. Zuni speakers have trouble switching these sounds.
There Zuni language has several phonemes that are not useful in English. The glottal sto ' in the first, middle, and final position changes the meaning of the word. Letting the glottis close suddenly, and sounds like the English uh-oh make the glottal stop.
Zuni morphology, like English, has rules for prefixes, suffixes, and ways to form plurals, change verb tenses, numbers and case. Although accomplished differently, structural properties are common in both languages.
Semantic differences are easy to recognize. Because of its history, there is not word for the English "airplane", so a set of words "the house with wings" will be the substitution. Zuni possessive pronouns will change depending on the context in which they are being used.
Code switching can be a resource to eliminate the phrases for word substitution. If a speaker can be proficient enough to use the correct word, then the communication is successful. Code switching is also a stepping-stone in language development, testing the new language and being protected from getting your feet too wet.
http://www.prophetsrock.com/zuni_language/bibliography.shtml
The Zuni, or Shiwi language, is now generally considered a language isolate. The Encyclopedia Britannica categorizes it as a Penutian language, and Bertha Dutton once posed the hypothetical that according to the Swadesh list, "If the Zuni language is a member of the Penutian language family, then it is a distant relative of the Tanoan languages (Tewi)." The Penutian hypothesis was advanced by Alfred Kroeber and Roland B. Dixon, and later refined by Edward Sapir, and was an attempt to reduce the number of unrelated language families in a culturally diverse area that was centered in California's central coast. While this theory was plausible for some of the languages, the problem of verification of this theory was that to find any evidence of any cognates between the California languages and Zuni, one would possibly have to trace the languages' lineage by as much as 3000-5000 years or more.
Listed below is a bibliography of books and articles concerned with the Zuni language. Some of these items deal with syntax and semantics, as does Zuni Curtis D. Cook's article. Others, such as Ruth Bunzel's Pueblo Pottery and Jane M. Young's book on Rock Art, may seem out of place on this list, but are important in the study of pragmatics and the Zuni World View as it corresponds with the Zuni language. The Zuni worldview may properly be considered as a study in orthology. The form and function of design images and pictographic rock art images and their interpretation according to Zuni mythology or cosmology sufficed as a form of communication prior to the appearance of a written language.
The Zuni Enigma, by Nancy Yaw Davis offers a comparative of cognates between the Zuni language and another language isolate; the Japanese language. While speculative, it demonstrates a likeness between the Zuni and Japanese languages that is more compelling than that of the Penutian Hypothesis. The article by Dell Hymes offers information on California languages where one can form a comparative of certain Zuni words to the languages of California, e.g. Wintu, Maidu, Miwok, and may have relevance to studies of the Pueblo Peoples, the Pecos Classification, and the Hohokam. The importance of the books on and by Frank Hamilton Cushing goes without saying. He was the first anthropologist to undertake studies by means of the method of participant observation, and was a member of the Priesthood of the Bow. Of special interest in regard to the Zuni language is his correspondences edited by Jesse Green, and their relevance to the Zuni language as it reflects their world view.
From: "ghwelker" ghwelker3@comcast.net
Subject: ZUÑI FOLK TALES
http://www.sacred-texts.com/nam/zuni/zft/
The Trial Of Lovers: or The Maiden Of Mátsaki And The Red Feather
The Youth And His Eagle
The Poor Turkey Girl
How The Summer Birds Came
The Serpent Of The Sea
The Maiden Of The Yellow Rocks
The Foster-Child Of The Deer
The Boy Hunter Who Never Sacrificed to The Deer He Had Slain: or The
Origin Of The Society Of Rattlesnakes
How Áhaiyúta And Mátsailéma Stole The Thunder-Stone And The
Lightning-Shaft
The Warrior Suitor Of Moki
How The Coyote Joined The Dance Of The Burrowing-Owls
The Coyote Who Killed The Demon SÍuiuki: or Why Coyotes Run Their
Noses Into Deadfalls
How The Coyotes Tried to Steal The Children Of The Sacred Dance
The Coyote And The Beetle
How The Coyote Danced with The Blackbirds
How The Turtle Out Hunting Duped The Coyote
The Coyote And The Locust
The Coyote And The Ravens Who Raced Their Eyes
The Prairie-Dogs And Their Priest, The Burrowing-Owl
How The Gopher Raced With The Runners Of K'iákime
How The Rattlesnakes Came To Be What They Are
How The Corn-Pests Were Ensnared
Jack-Rabbit And Cottontail
The Rabbit Huntress And Her Adventures
The Ugly Wild Boy Who Drove The Bear Away From South-Eastern Mesa
The Revenge Of The Two Brothers On The Háwikuhkwe, Or The Two Little
Ones And Their Turkeys
The Young Swift-Runner Who Was Stripped Of His Clothing By The Aged
Tarantula
Átahsaia, The Cannibal Demon
The Hermit Mítsina
How The Twins Of War And Chance, Áhaiyúta And Mátsailéma, Fared With
The Unborn-Made Men Of The Underworld
The Cock And The Mouse
The Giant Cloud-Swallower
The Maiden The Sun Made Love To, And Her Boys: Or The Origin Of Anger
Coyote vs. Duck - Ute
Coyote became disturbed because he had a sick daughter. He thought Duck had done something against his children in order to make them sick. So Coyote determined to bring harm to Duck. He met Duck at a certain place and ordered that Duck should run to a point with his eyes closed. This Duck did. When he opened them again, he found himself in the hole of a big rock, a little cave high on the face of a cliff. There was no way out for Duck.
Coyote took Duck's wife and children, whom he treated badly. In time. Coyote had more children from this woman, and these he took good care of.
Duck tried constantly to get out of the cave, without success. At last Bat camped nearby, and every day, when he went to hunt rabbits, his children could hear someone crying. They told Bat, and he flew upward to look. On his way he killed rabbits and hung them on his belt. Finally he found Duck, who was very weak from lack of food.
"Who is there?" asked Bat. "I am Duck." Bat asked, "How did you come up here?" Duck said, "Coyote caused me to lose my way with my eyes closed. He got rid of me in order to steal my wife." Then Bat said 'Throw yourself down." Duck was afraid to try. So Bat told him, "Throw down a small rock." This Duck did and Bat caught it on his back. He said, "That is exactly the way I will catch you. You will not be hurt."
Duck still feared that Bat would not catch him. Bat continued to urge him to let himself fall. Several times Duck almost let himself go, but drew back. At least he thought, "Suppose I am killed; I shall die here anyway; I am as good as dead now."
Duck closed his eyes as Bat commanded, and let himself fall. Bat caught him gently and put Duck safely on the ground. Bat then took Duck to his home and said, "Do not use the fire-sticks that are near my fireplace, but use those stuck behind the tent poles, at the sides of the tent."
Then he entered, and Duck saw the sticks at the sides of the tent, but only thought them to be fine canes, too handsome for stirring the fire. He saw a number of sticks laying around that were charred on the ends. He took one of these and stirred the embers. Oh, how the sticks cried. All the other sticks called out, "Duck has burned our younger brother."
These sticks were Bat's children, and they all ran away. Duck became frightened at what he had done, and went out and hid in the brush. Bat came and called to him, "Come back! You have done no harm."
For a long time Duck seemed afraid that Bat would punish him. Then he thought, "I've already been as good as dead, so I have nothing more to fear, even if they should kill me." Duck went back into the tent. But Bat did not hurt him and gave him plenty of rabbit meat to eat. Soon Duck was strong again.
Duck said to Bat, "Coyote took my wife and children; I think I shall go and look for them." Believing him to be strong enough. Bat encouraged him to go. Duck went to his old camp, but he found it deserted. He followed tracks leading from it, and after a while found some tracks other than his own children's.
"I think Coyote has got children from my wife," he thought, and he became very angry. Coyote came along with Duck's wife. She was carrying a very large basket. Inside were Coyote's children, well kept; but Duck's children sat on the outer edge of the basket. Nearly falling off. These were dirty and miserable.
Duck caught the basket with a finger and pulled it back. "What are you doing, children?" the woman said. "Don't do that; you must not catch hold of something and hold me back." Duck continued to pull at the basket. At last she turned to look at the children and saw Duck. He said to her, "Why do you take care of Coyote's children, while my children are dirty and uncared for? Why do you not treat my children properly?"
The woman was ashamed and did not answer. Then he asked her, "Where will you camp now?" When she told him, he said to her, "Go to the place where Coyote told you to camp, but when you put up the shelter, make the grass very thin on one side and very thick on the side on which you are, so I can reach Coyote."
The woman arrived at the camping place. Coyote asked, "To whom have you been talking now?" She replied, "I have not met nor talked with anyone. Why do you always ask me that?" She then put up the shelter as Duck had directed her. Immediately Duck began to blow. He blew softly, but again, again, and again, until he made it freezing cold.
Coyote could not sleep. He thrust his spear through the sides of the shelter in all directions and nearly speared the Duck. Coyote said to his wife, "I knew that you met someone. It must have been Duck, who is making it so cold." Duck continued to blow and blow. At last Coyote burrowed himself down into the fireplace ashes, hoping to warm himself there. But it was of no use. Coyote froze to death before morning.
Duck let all of Coyote's children go free where they wished. Then he took his wife and his children back to their old home, where they had lived before all of the disruption began.
Taken from A. L. Kroeber, Journal of American Folklore 14, 1920 pages 272-274.
From the archives of Blue Panther Keeper of Stories
http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3
Coyote With A Thorn In His Eye - Costanoan / Rumsien Coyote came to some women and asked them to pull out a thorn from his eye. There was only a little stick which he held in place with his eyelid. At first they distrusted him. He selected the most beautiful; "You draw it out," he sang. When she was about to take it with her fingers, he said: "No, take hold of it with your teeth." He said this so that he might seize her. When she took hold of the little stick he seized her and ran off with her. His song: Meneya don kac op ka yapunnin, you ( ?) me pull-out my thorn!
By A. L. Kroeber. UCPAAE Vol. 4 No. 4, pp. 167-250. [1907] [This covers the mythology of the Costanoans, today known as the Ohlone, who lived in the San Francisco and Monterey Bay area; and the Yokuts, who lived in the San Joaquin Valley. ] Rumsien Costanoan Indian Myths Of South Central California
From the archives of Blue Panther Keeper of Stories
http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3
The Native American Basketball Invitational
SCHEDULE OF EVENTS
Tuesday, June 21: NABI TEAMS ARRIVE IN PHOENIX
• 2:00 – 4:00 pm “Team Check-In” Hyatt Regency downtown Phoenix
• 7:00 – 8:00 pm “NABI Staff & Coaches Meeting: Pointe Hilton Squaw Peak Resort.
• 8:00 – 10:00 pm “NABI Welcome Teams Pool Party” Point Hilton Squaw Peak Resort Water Park.
All Private Events/Not open to the public
Wednesday, June 22 – Friday June 24:
• 8:00 am - 9:00 pm “NABI Games”: Double elimination tournament begins at local high school and reservation recreation gyms for the purpose of completing the first brackets of play.
• Open to the public. Admission fee $5 per person for a 3-day NABI Wristband, children 6 & under free. Proceeds to benefit gyms.
• Official NABI product will be sold at Ft. McDowell and Maricopa High School gyms.
Friday, June 24:
• 7:00 –11:00 pm “Team Reception & Dance”: For all NABI teams and sponsors.
Hyatt Regency downtown Phoenix.
Private Event/Not open to the public.
Saturday, June 25:
8:00am-5:00 pm “Semi-finals and Championship Games”: America West Arena.
MC: Chance Rush. Proceeds to benefit the NABI Foundation.
• Open to the public. Admission fee $10, children 6 & under free. Turn in your 3-day NABI wristbands and receive $2 off your AWA ticket.
• Games also televised on AZTV /Cable Channel 27 1-5pm
• Official NABI Product will be sold at the Suns Team shop at AWA
• Digital Reflection will have a booth on the main concourse of the AWA to provide action shots and team photos. There is a cost for this service.
7:00 – 10:00 pm “Phoenix Mercury” game at America West Arena.
Turn in your AWA ticket and receive a discount on your Mercury Ticket. NABI Championship Teams to be honored at Mercury Half-time.
TOURNAMENT CONCLUDES
From: ghwelker3@comcast.net
Subject: 7th Annual Intertribal Powwow
Civic Center Park
San Dimas, California
Saturday, October 1 and Sunday, October 2, 2005
Hosted by the San Dimas Chamber of Commerce
Head Staf TBA
Children's Activities, Craft and Food Vendors
Coordinators: Michael Reifel, Bill Neal (Elk Whistle)
Parade Saturday to include Indigenous Peoples for first time
For information please contact:
San Dimas Chamber of Commerce
P.O. Box 175
San Dimas, CA 91773
Phone: (909) 592-3818, Fax (909) 592-8178
Email: annette@sandimaschamber.com
http://www.smartgroups.com/groups/keeper_of_stories_3
Web Sites:
Native American Links Page
Indigenous Peoples Literature
Native Voice
Wisdom of the Old People
Native American Summer Camp Info
By David Whitney
Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
"Hero, Hawk, and Open Hand" is scheduled to be shown at The St. Louis Art Museum from
March 4 to May 30, 2005, and at the Smithsonian National Museum of
Natural History from early July to late September.
National Association of Tribal Historic Preservation
Inuit film to tell story of last great shaman
Petition in Support of the Winnemem Wintu Tribe
My Two Beads Worth: Indigenous News Online
Northern California Indian Development Council
Native Village
Smudge Ceremony
To subscribe to Native Village weekly email reminders, please send your
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address to:
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NATIVE VILLAGE YOUTH AND EDUCATION NEWS is a free newsletter which
informs
and celebrates in the education, values, traditions, and
accomplishments of the
Americas' First Peoples.
Member: Native American Journalists Association
Buffalo Field Campaign
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Literacy in Indigenous Communities by L. David van Broekhuizen, Ph.D. (2000)
HTML Format (70K)
PDF Format(117K)
Literacy in first languages in indigenous communities is a complex
topic that generates lively discussion. This research synthesis
explores the notions of national, mother-tongue, multiple, and
biliteracies. It presents important information pertaining to
threatened languages, language shift, and language loss. Examples of
culturally relevant uses of literacy in indigenous communities and
issues related to first-language literacy instruction are also
provided.
Essay on the Zuni World View
Excerpt(Complete article is available in PDF)
Cushing also cited an
incidence where he showed a pole that accompanies a theodolite to an old Zuni
man and asked him what he thought the name of it was. In response the old man inquired as to the
use
of the
item. After briefly describing the
implementation of the device the old man provided a rather lengthy
sentence-word that Cushing translated as "heights of the world progressively
measuring stick". The next day Cushing
took the pole to the extreme corner of the pueblo and began "to flourish it
around" until a middle-aged man relented to curiosity and asked what it
was. Cushing then provided the Zuni
name he had learned the day before and the man promptly requested, "Can they
actually tell how far up and down journeying the world is?"
[105].
Prayer at sunrise
Now this day, (Lukka yattone)
My sun father, (Hom yatoka tatcu)
Now that you have come out standing to your sacred place, (yam telashina kwi to' ye lhana kwai ikapa)
That from which we draw the water of life, (yam kia kwi ya na te'ona)
Life sacred meal, (hala wo tinane)
Here I give to you. (lilha tom ho te'a upa)
Your long life, (yam onaya naka)
Your old age, (yam lha shiaka)
Your waters, (yam kashima)
Your seeds, (yam towashonane)
Your riches, (yam u/tenane)
Your power, (yam sawanikia)
Your strong spirit, (yam tsemakwin tsume)
All these to me may you grant, (temlha hom to anikchiana).
To be chanted with an offering of cornmeal
Zuñi
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posted by Amerindian Arts at 5:21 PM
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