Zuni Language and Ceremonialism: Objectivity and Personal Accomplishment
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Trail of Tears organizer gets ready for '05 motorcycle ride
Now that they've successfully established the Trail of Tears in history and in the public mind, Wheeler said they're using T-shirt proceeds to provide scholarships to American Indians. They recently donated $60,000 to universities in Tennessee and Alabama.
Native American petroglyphs bear witness to a history long hidden
Opening day of Indian Summer Festival connects through traditions
Schools fight back on NCAA mascot ban
Poll finds support for Fighting Sioux nickname
Festival Highlights American Indian Contributions
Violence Against Women Act up for renewal
Question of Wisconsin Indian Casinos Still Up In the Air
Native American residency at NKU
Officials hope locals will support powwow
Group challenges court order on artifacts
Native American Days
10 a.m. to 4 p.m. Sept. 17-18, Hanging Rock State Park, Visitor Center, Hanging Rock Road (State Road 2015), Danbury. A celebration of the many cultures and talents of Native Americans with a variety of displays and demonstrations by North Carolina Native Americans and primitive-skill specialists. Storytelling, tanning, fire-starting and flint-knapping. This event is being held in conjunction with the 31st annual Stokes Stomp. Free. 593-8480.
Indian Heritage Festival & Powwow
noon to 5 p.m. Sept. 17, Uptown Martinsville, 65 W. Main St., Martinsville, Va. Presented by the Virginia Museum of Natural History. Features nationally known musician and performer Pura Fe at 1:30 p.m. and the Iroquois Thunderheart Drums from Pennsylvania. Native American dancing, teepees, crafts and food. Bring your lawn chairs. No pets allowed. Gates open at 11 a.m. Rain location: old Lowe’s building on U.S. 220 in Ridgeway, Va. Museum members admitted free with membership card. $5 adults, $4 seniors and children ages 12 to 18, $3 ages 3-11. (276) 666-8600 or www.vmnh.net
"Offerings from the Heart," exhibition of works by 26 American Indian artists, Tuesday through Sept. 17, Cando (N.D.) Arts Center, includes works by internationally known artist Jaune Quick-To-See-Smith; along with Joni Murphy, a doctoral candidate in art history at the University of Kansas; Peg Furshong, visual arts and gallery coordinator at the UND Memorial Union Gallery; as well as Monty Yellow Bird and Marla Quincy Yellow Bird, both Fargo; and Nelda Schrupp, Lakota, N.D. Gallery hours: 1 to 4 p.m. Tuesday through Saturday.
Hybrid Harvest: Six Contemporary Native American Artists
Cal State Fullerton Main Art Gallery, 800 N. State College Blvd., Fullerton - "Hybrid Harvest: Six Contemporary Native American Artists" - The exhibition explores the cross-pollination of Euro-American and Native-American worlds. Sept. 6 through Oct. 7. Tue.-Fri., noon-4 p.m.; Sat., noon-2 p.m. Admission: free. (714) 278-3262. www.arts.fullerton.edu/events/
Snohomish Co., WA The Depot Arts Center: Seventh and R Streets, Anacortes; 360-293-3663. "The Other Side of the Mountain," through Sept. Native American arts, Oct. 7 through 31.
National Indian Gaming Association to Host Two Evenings of Native American Music and Dance
Contact: Suzette Brewer of the National Indian Gaming Association, 202-546-7711
National Indian Gaming Association to Host Two Evenings of Native American Music and Dance
Programs Celebrate 'National American Indian Heritage Month'
In celebration of National American Indian Heritage Month, the National Indian Gaming Association (NIGA) will host two evenings of Native American music and dance on Monday, Nov. 28, and Tuesday, Nov. 29, 7:30-10 p.m., at the John F. Kennedy Center for the Performing Arts in Washington, D.C. The programs will take place in the Terrace Theater.
Former U.S. Sen. Ben Nighthorse Campbell (Northern Cheyenne) will host the programs, which will include Native performers from the Northeast, Northern Plains, Southwest and Northwest Coast regions. All proceeds will benefit the American Indian College Fund.
Tickets are $25 and are available at the Kennedy Center box office or by phone at 202-467-4600. Order online at http://www.kennedy-center.org.
The National Indian Gaming Association, headquartered in Washington, D.C., is a non-profit trade association comprised of 184 American Indian Nations and other non-voting associate members. The mission of NIGA is to advance the lives of Indian people -- economically, socially and politically. NIGA operates as a clearinghouse and educational, legislative and public policy resource for tribes, policymakers and the public on Indian gaming issues and tribal community development.
Web: http://www.indiangaming.org
http://www.usnewswire.com/
Zuni Language and Worldview, Part V
Zuni Language and Ceremonialism: Objectivity and Personal Accomplishment
In a unique language such as Zuni where multireferential names and metaphoric symbolism are prevalent it is certain that much would be lost in translation to a universal syntax. Modal language is ineffective as well, for there are no possible worlds for the Zuni. Epistemic fulfillment is found and absorbed in the aesthetic. As Ruth Bunzel noted in her study of Zuni ceremonialism, a final statement of the Zuni worldview would be "The world then is as it is and man’s plan in it is what it is"[67]. Necessity has absorbed the possible in the logic of ritual where the failure of prayer is attributed to a deviant utterance or a 'bad heart'. Potential is everywhere in animate matter, but its manifestation is the actualization of form and function in cognition[68]. Potential is what it is when it is not thought about, and when thought about it is for the most part restricted to the non-verbal. In the Zuni language the word for "I think" is the same word for "maybe", or "perhaps" (hinik)[69].
This may seem paradoxical if actualization is cognition and the "I think" is simply the possible or potential, but actualization of form and function is to know the use of the thing, which presupposes knowledge of its context. Knowledge of context and the things use is sufficient for naming. Indeterminacy of context and perhaps one’s belief is the vagary of cross identification making quantification uncertain and ontology relative, leaving potential to the non-verbal and subsequently giving the appearance of a lack of a naming process as well. Individualism is discouraged and is distinct from personal accomplishment. Deviant utterance and a bad heart are qualities of individualism. As Cushing remarked, while learning the language during his tenure as a participant-observer residing in the Governor’s household at the Zuni Pueblo, his improper usage of the language never went uncorrected[70].
Thus, Zuni truth is determination according to the beliefs of the individual and subsequently to the reciprocal public intentions of a distinct culture where the individual as a "perspective-taker" performs rationalization in the ontological sense[71] or the "primitive"[72] and intersubjectivity is validated as objectivity in "personal accomplishment"[73]. Personal accomplishment is never identical to individualism and the beliefs of the individual are expressed objectively if their interpretation of an image invokes a proper narrative.
Young states "rock art is of special import because it demonstrates the involvement of the ancestors in present day life, the fluid boundary between events of the myth times and those of today. Because certain rock art images evoke recitations of traditional narrative, I regard them as a means by which to investigate the relationships between verbal and visual communication codes. This interrelationship is revealed in the way that the Zuni use these codes to recreate and structure the world of the myth time, making it a part of their contemporary existence"[74]. What is important here is that verbal and ostensive definition presupposes myth and that proper interpretation of the image in context requires that it be related in the now, as a present tense, and where what is uttered or shown is always true and the belief of the producer. Existence is the accumulation of the past that naturally conflates to the present. While it is always an eternal possibility, existence shows itself only as a necessary present.
Cushing referred implicitly to this phenomenon in equivocating the Zuni term "I-shothl-ti-mon"[75], meaning "always", with "ahâi" (ahoi)[76], meaning "beings"[77]. The prefix I in Zuni is either reflexive or inchoative[78] and the prefix a[79] is either a verbal pronominative for the plural absolute or a derivational prefix pluralizing particles referring to persons[80]. Miner notes that either of these uses of a is homophonous with the other and as a linguist one must assume that he intended that while pronunciation is the same they have different derivations, whereas Cushing, who knew the Zuni language and was familiar with the musicality of Zuni narrative, translated a as a unison, conflating their usage in, for example, his translation of Apoyan (sky or cover) Tatcu (father) as "all covering Father Sky"[81]. Cushing implies this function of individuation several times throughout his essays, referring to the "Seven Cities of Cibola" while Frederick Hodge complained of finding the physical remnants of only six cities (pueblos), the seventh kiva or direction (there are six), and the nineteenth clan (eighteen clans divided into the dichotomy of Summer and Winter people)[82].
Frederick Eggan seems to agree with Cushing’s observations[83] and Young notes Eggan’s agreement when citing Cushing’s Outline of Zuni Creation Myths[84]. Young comments a number of times in her essay that the principle theme of the Zuni cosmology is the notion of the "center" where its multireferential aspects are integrated as a motion through time directed inward[85], "collapsing the boundaries of space and time into the base metaphor, giving it the ability or power to refer to many disparate concepts simultaneously"[86]. The center is represented as a class that is itself a member of its class where the multireferential images of the center refer to themselves and to the class as a whole in a seemingly paradoxical as well as tautological sense of logical extension, and is probably responsible for Cushing’s observation that the Zuni seemed to confuse the subjective with the objective[87]. The extended and the non-extended are tautologically present in every image, where, for example, the seventh city is manifest in the collectivity of the six pueblos known to exist, or the summer-winter dichotomy which is one representative of the idea of the center as indicative of the nineteenth clan.
If you can, plan to be there Sept. 10 or 11; you will be in for a treat. The animal park is having a special Native American Arts Festival featuring the expert storytelling of John Three Hawks, who will share tales of the local animals, plants and terrain and will truly inspire his listeners. After hearing his lively narratives, you can stroll around the facility and enjoy the wildlife from a new perspective.
American Indian songs, dances and food will also be available, as well as beautiful and unusual crafts. It's the perfect opportunity to ask questions of gifted artisans.
For more information, call Friends of the Moonridge Zoo at (909) 878-4200.
Additional American Indian artisans who are interested in participating are welcome to display wares free of charge.
Moonridge Zoo at P.O. Box 2557, Big Bear City, CA 92314
Adobe Gallery: older original paintings by Tony Abeyta, Emil Bistram, E.A. Burbank, Fremont Ellis, R.C. Gorman, Patrick Swazo Hines, and Fritz Scholder,cq all through Sept. 3; acrylic paintings and aquatint etchings by Helen Hardin, through Oct. 16. 221 Canyon Road, Santa Fe. (505) 955-0550.
USAO to host young writers workshop Aspiring young writers and filmmakers from across Oklahoma are invited to participate in a workshop Sept. 15-16 at the University of Science and Arts in Chickasha. The workshop is hosted by the Woodcraft Circle of Native Writers and Storytellers, with support from USAO.
The free, two-day workshop is geared toward Native American students but participants do not need to be Native American or become members of Woodcraft Circle.
Participants are also awarded with membership in the Woodcraft Circle, a national organization of Native American writers and storytellers.
For more information, contact Dr. Lee Hester, director of American Indian Studies, at 405-574-1289 or fachesterl@usao.edu, or Jay Goombi, Woodcraft regional director, at 405-574-1264or jgoombi@usao.edu.
Northeastern Native American Fine Arts Show. A new exhibit at the Mashantucket Pequot Museum features an array of art, which runs through Sept. 5 at the museum's gallery, shows off the artistic skills of American Indians from the Northeast. Thirty-four artists with connections to tribes of the Northeast were chosen for the show, which includes sculpture, carvings, oils, acrylic and mixed media.
Sept. 4-Nov. 13: "By Native Hands: Native American Basketry," Forsyth Center Galleries, Memorial Student Center, Texas A&M. 9 a.m.-8 p.m. Monday through Friday and noon-6 p.m. Saturday and Sunday.
October 30. Native American Fall Festival-Lenape Village. Churchville Nature Center. Churchville, PA. 215-357-4005. www.churchvillenaturecenter.org.
Museum of Indian Arts and Culture:"Beauty Within," historical objects from the collection, through Oct. 23; "IconoClash," symbols of American Indian culture, through Jan. 15; "The Pottery of Santa Ana Pueblo," through Feb. 19. 708 Camino Lejo, Santa Fe. Admission and hours: (505) 476-1250.
Plains Art Museum: "Between Two Cultures: The Art of Star Wallowing Bull," opens Sept. 24; "Contemporary Native American Artists - Reflections After Lewis and Clark," opens July 21, (701) 232-3821.
AEQ Book Review of
Making Dictionaries: Preserving Indigenous Languages of the Americas .
Frawley, William, Kenneth C. Hill, and Pamela Munro, eds. Berkeley: University of California Press, 2002. 450 pp. ISBN 0520229967, $34.95.
© 2004 American Anthropological Association Book Review
of Making Dictionaries: Preserving Indigenous Languages of the Americas .
Reviewed for the Anthropology & Education Quarterly by Catherine S. Fowler
University of Nevada
csfowler@unr.nevada.edu
To Order this book
W. Tussinger has written his first novel which was released in December, 2004. The title of the book is THE FOURTH WORLD.
W. Tussinger is a member of the Wyandotte Nation of Oklahoma and has lived on several reservations including the Yuroks of Northern California and the Yakamas of Washington State where he attended college.
THE FOURTH WORLD
Doing a Trick with Eyeballs – Cheyenne
Veeho is like some tourists who come into an Indian village not knowing how to behave or what to do, trying to impress everybody. One day Veeho met a medicine man with great powers. This man thought to amuse Veeho -- and himself -- with a little trick.
"Eyeballs," he shouted, "I command you to fly out of my head and hang on that tree over there."
At once his eyeballs shot out of his head and in a flash were hanging from a tree branch. Veeho watched open-mouthed.
"Ho! Eyeballs!" cried the medicine man, "now come back where you belong!" And quick as lightning, the eyeballs were back where they ought to be.
"Uncle," said Veeho, "please give me a little of your power so that I too can do this wonderful trick." To himself Veeho was thinking, "Then I can set up as a medicine man; then people will look up to me, especially good-looking girls; then people will give me many gifts!"
"Why not?" said the medicine man. "Why not give you a little power to please you? But, listen, Veeho, don't do this trick more than four times a day, or your eyeballs won't come back."
Veeho could hardly wait to get away and try out this stunning trick. As soon as he was alone, he ordered: "Eyeballs, hop on that ledge over there. Jump to it!" And the eyeballs did. Veeho couldn't see a thing. "Quickly, eyeballs, back into your sockets!" The eyeballs obeyed. "Boy, oh boy," Veeho said to himself, "what a big man I am. Powerful, really powerful." Soon he saw another tree. "Eyeballs, up into that tree, quick!" For a second time the eyeballs did as they were told. "Back into the skull!" Veeho shouted, snapping his fingers. And once more the eyeballs jumped back. Veeho was enjoying himself, getting used to this marvelous trick. He couldn't stop. Twice more he performed it. "Well, that's it for today," he said.
Later he came to a big village and wanted to impress the people with his powers. "Would you believe it, cousins," he told them, "I can make my eyeballs jump out of my head, fly over to that tree, hang themselves from a branch, and come back when I tell them."
The people, of course, didn't believe him; they laughed. Veeho grew angry. "It's true, it's true!" he cried. "You stupid people, I can do it."
"Show us," said the people.
"How often have I done this trick?" Veeho tried to remember. "Four times? No, no. The first time was only for practice; it doesn't count. I can still show these dummies something." And he commanded: "Eyeballs, hang yourselves on a branch of that tree!" The eyeballs did, and a great cry of wonder and astonishment went up. "There, you louts, didn't I tell you?" said Veeho, strutting around, puffing himself up.
After a while he said: "All right, eyeballs, comeback!" But the eyeballs stayed up in the tree. "Come back, come back, you no-good eyeballs!" Veeho cried again and again, but the eyeballs stayed put.
Finally a big fat crow lighted on that tree and gobbled them up. "Mm, good," said the crow, "very tasty." The people laughed at Veeho, shook their heads, and went away. Veeho was blind now. He didn't know what to do. He groped through the forest. He stumbled. He ran into trees. He sat down by a stone and cried.
He heard a squeaking sound. It was a mouse calling other mice. "Mouse, little mouse," cried Veeho, "I am blind. Please lend me one of your eyes so that I can see again."
"My eyes are tiny," said the mouse, "much too tiny. What good would one of them do you? It wouldn't fit." But Veeho begged so pitifully that the mouse finally gave him an eye, saying: "I guess I can get along with the other one."
So Veeho had one eye, but it was very small indeed. What he saw was just a tiny speck of light. Still, it was better than nothing. Veeho staggered on and met a buffalo. "Buffalo brother," he begged, "I have to get along with just this one tiny mouse eye. How can a big man like me make do with that? Have pity on me, brother, and lend me one of your big, beautiful eyes." "What good would one of my eyes do you?" asked the buffalo. "It's much too big for your eye-hole."
But Veeho begged and wept and wheedled until the buffalo said: "Well, all right, I'll let you have one. I can't stand listening to you carrying on like that. I guess I can get by with one eye."
And so Veeho had his second eye. The buffalo bull's eye was much too big. It stuck out of its socket like a shinny ball boys like to play with. It made everything look twice as big as his own eyes had. And since the mouse eye saw everything ten times smaller, Veeho got a bad headache. But what could he do? It was better than being blind.
"It's a bad mess, though," said Veeho. Veeho went back to his wife and lodge. His wife looked at him. "I believe your eyes are a little mismatched," she told him. And he described all that had happened to him.
"You know," she said, "I think you should stop fooling around, trying to impress people with your tricks."
"I guess so, " said Veeho.
Told by Rachel Strange Owl in Birney, Montana, 1971
From Blue Panther Keeper of Stories.
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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].
posted by Amerindian Arts at 11:32 AM
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