The Music Classroom: A Place Where Cultures Meet Music and Culture of Native Americans “Every part of the earth is sacred to my people.” "Man did not weave the web of life - he is merely a strand in it. Whatever he does to the web, he does to himself." Chief Seattle, 18549 1 \ PDE REL EMM PRIM ae a SHIRT, SNOLLVI0"] ALVWIXOHddY ONY SWaUY JHOLINY NWIGN] 20 dupyCHIEF SEATTLE'S STATEMENT (Editor's note: In 1854, the Great White Chief in Washington, President Franklin Pierce, made an offer for a large area of Indian land and promised a “reservation” for the Indian people. Chief Searle's reply, published here in full, has been described as the most beautiful and Profound statement on the environment ever made.) How can you buy or sell the sky, the warmth of the land? The idea is strange to us. Tf we do not own the freshness of the air and the sparkle of the water, how can you buy them? Every part of cis earth is sacred to my people. Every shining pine needle, every sandy shore, SxoUY, gals in the dark woods, every clearing and humming insect is holy in the memory and Experience of my people. The sap which courses through the trees carries the memories of tie red man, The white man's dead forget the country of their birth when they go walk emong the stars. Our dead never forger this beautiful earth, for it is the mother of the red man. We are parrof the each and it is pert of us. The perfumed flowers are our sisters: the deer, the horse, the great eagle, Ebsse are our brothers. The rocky erests, the juices in the meadows, the body heat of the pony’ and man all belong to the same family. So, when the Great Chief in Washington sends word that he wishes to buy our land, he asks much of us. The Great Chief sends word he will reserve us a place so that we can live comfortably Roumselves. He will be our father and we will be his children. So we will consider your offer to buy our land. Bucit will not be easy. For this land is sacred to us. This shining water that moves in the Streams and rivers is not just water but the blood of our SAseeers: Uf we sell you land, you must remember that it is sacred, and you must teach your childsen that it is sacred and that cach ghostly reflection in the clear water of the lakes tails of evens and memories in the life of my people. The water's murmur is the voice of my father’s father. Ths rivers are our brothers, they quench our thirst. “The rivers cary our canoes and feed our children. If we sell you our land, you must remember to teach your children that te rivers are our Brothers, and yours, and you must henceforth give the rivers the kindness you would give any other. sve Know that the white man does not understand our ways. ‘One portion of land is the same to him as the next, for he is a stranger who comes in the nigh: and takes fom the land whatever he pecds. ‘The earth is not his brother, but his enemy, and when he has conquered ithe moves cn. He leaves his fathers’ graves behind and he does not care. His fathecs’ graves and his holder's birthright are forgotten. He teats his mother, the earch, and his brother: the sky, as things 10 be bought, plundered, sold like sheep or bright beads. His appetite will devour the earth aid leave behind only deser. “There is no quiet place in the white man's cities. No place to hear the unfurling of leaves in the spring or the rustle of an insect's wings. “But perhaps it is because I am a savage and do not understand, the clater only seems to insuit the ears, And what is there to like if man cannot hear the lonely cry of the whippoorwil or the arguments of the frogs around a pond at night? Tam 2 red man and do not understand. The Indian prefers the soft sound of wind darting over the face of a pond, and the smell of the wind itself cleansed by a midday rain, or scented with the pinion pine.The air is precious to the red maa, for all things share the same breath - the beast, the man, they all share the Same breath, “The white man does not seem to notice the air be breathes. Like a man dying for many days, he is numb to the stench. But if we sell you our land, you must remember that the air is precious to us, that the air shares its spirit with all life it supports. The wind that gave our grandfather his first breath also receives his last sigh. And if we sell you our land, you must Keep it apart and sacred as a place where even the white man can go 10 taste the wind that is sweetened by the meadow's flowers. So we considér your offer to buy our land. If we decide to accept, I will make one condition: ‘The white man must treat the beasts of this land as his brothers. Tam a savage and do not understand any other way. I have seen a thousand rotting buffaloes on the prairie, left by the white man who shot them from a passing wain. I am a savage and I do not understand how the smoking iron horse can be more important than the buffalo that we Kill only to stay alive. ‘What is man without the beasts? If all the beasts are gone, man would die from 2 great loneliness of spirit. For whatever happens to the beasts, soon happens to man. All things are connected. ‘You must teach your children that the ground beneath their feet is the ashes of our grandfathers. So that they will respect the land, tell your children that the earth is rich with the lives of our kin. Teach your children what we have taught our children - that the earth is our mother, Whatever befalls the earth befalls the sons of the earth. If men spit upon the ground, they spit upon jemnselves. ‘Whatever befalls the earth befalls the sons of the earth. Man did not weave the web of life; he is merely a strand of it. Whatever he does to the web, he does to himself. Even the white man whose God walks and talks with him as friend to friend, cannot be exempt from common destiny. We may be brothers after all. We shall see. One thing we know, which the white man may one day discover, our God is the same God. You may think now that you own Him as you wish to own our land, but you cannot. He is the God of man, and His compassion is ‘equal for the red man and the white. This earth is precious to Him and to harm the earth is to heap Contempt on its Creator. The whites, too, shall pass: pethaps sooner than all other tribes. Contaminate your bed and you will one night suffocate in your own waste. But in your perishing you will shine brightly, fired by the strength of God who brought you fo this land and for some special purpose gave you dominion over this land and over the red man. ~ ‘That destiny is a mystery to us, for we do not understand when the buffalo are all slaughtered: the wile horses are tamed, the sacred comers of the forest heavy with scent of many men, and the view of the ripe hills blotted by talking wires. Where is the thicker? Gone. Where is the eagle? Gone. ‘The end of living and the beginning of survival.MMC oa jong } Di Mov 5D Asyor _ _ | 63 Chippewa Lullaby i= i fort Native American Song ofthe Chippewa People 1 teade Collected by Frances Densmore, 1913 i *s i ec ‘ Repeat Singi ® Focus: | rurru n i and da | (Note: they ar i child t | ®D inviter “Hush, version Help th (Note: i When t cultures are alk their vo SUV BS Oye ei opens Tesinobie Many people lke quiet at bedtime, but <>" Web Site Using tt there are places in the world in which homes are made of snate- springboard, explor rials that don’t shut out sound all that wel, in which pets and ferent about a varie livestock can always be heard, or where such a large number of wuw.sfsuccessnet.c people live and work that their many sounds create a constant classroom work. background musi ome In these places, lullabies compete with many other sounds and cannot be too soft. For example, a chit's favorite lullaby may 'nclude clapping. But for litle ones in Ghana, the clapping is tke a glass of warm milk or a hildby gently sungSong mm eo oe a) Bear Dance 4== @mrs 2 ave Ameean Fo ong ofthe Sepni Pope Net Cacia Transorbed by J. Bryan Burton 2 5 2 We e@ ha he yo he ha he yo ® ho wha-chano ~~ 0 ho wha-chano = we SCS EE — oar oad evenness ae Inte several volunteers tobe drummers and a smaller number to be the bears. Then ask the drummers to form a large circle around the bears. <& As the drummers do a toestep pattern around the circle on the beat, the bears dance by stepping toward the circle and back again, You might also let a volunteer point to the Big Book page ‘to guide the bears in performing low and high movernents to match the melody patterns in the song @ MoyzMEns.. @ DEVELOP Singing DAs you play the first line of the children in singing the Science Help the children find ¢ bears. Ask, “What are some kinds of What do bears eat? What do they do Help the children realize that grizzly! ‘white hairs that grow in their brown tizzled, or streaked with gray. For th sometimes called sllvertips. The child bears from Deborah Kovacs's Very F Bears (Museum of Natural History, 1 London's Honey Paw and Lightfoot introduce the children to the daily 2cAueRicay Music Native American Music” Ore Grades: 1-3 ® Mos’, Most sxe oy dasse —_— =~ + ¥ +5 ns + —* cc ote i= 2S Z + = Z Ka - nel -por- hye nai - ti - la, Ka - nel - per kye nal - ti = la, a, Mo - sal Mo sal ye, Ya, Ya, Yas Ya, et Objectives Students will: 1, Learn the Hopi song “Mos’, Mos’?” and the actions that go with it. They will also discuss the background of the song and text to broaden their understanding of the place of music in Native American life and some of the valuable perspectives in the various ‘Native American views of the world. 2, Sing the Apache “Blessing Song,” accompanying the song with a steady drumbeat Diagram the ABA form of the song. Materials 1 Map of the United States Videotape of David McAllester teaching the song “Mos’, Mos't” at the MENC ‘Symposium on Multicultural Approaches to Music Education’ + Lesions derived fromm Bain Schupman (ORBIS Associates, Wathngton, D.C) and David P. McAlester, "Teaching the Music ofthe American Indien in Wiliam M. Anderin, Teaching Masicwith « Muleltwral Approach (Reston. VA: MENC, 1991), pp. 38-43. 1 Teaching the Music ofthe American indian, Music Educators Nations Confetenet, 1981; avaisble from MENC: The National -Asocntion for Music Edueaton, 1896 Robert Flten Drive, Reston, VA 20191, 800-296-2768; www menc.org. 434 SB of heck ont Tat RR nnn nnn nnn oem moreno anaannady beat tain a steady beat while per 4 Pottery Dance «ass the culture of the Zuni People wai ‘n,); vocal; vocal ons 11); vocal; instrumental; vocal Game" p. 516 Standards +o¢¢ ‘om alverse cultures ave to show a prominent feature 29 socal studies ‘aferent cultures Native American music: ‘stand that celebrations of at part in the special days of Zuni, who live in the hot, dry Io the rain that helps their du honor the grass from which the strength that allows them Both groups celebrate these nces, See Spotlight On below. Pottery Dance = Zuni Summer Rain Song PRPPPRPPETIAVIIZIWGGAT TN GIOIA Naeem So 5 that are sung in many Native 1© apparent meaning. However, the 5 often internal to the singer, vocables song. After extensive study, one,may tors from the vocables used, such as ad whether it is of a sacred or secular » The Pottery Dance The Pottery Dance is a graceful dance performed by the women of the Zuni pueblo (village) to help bring rain for their crops. Each woman balances a pottery ‘water jar or olla (OY-ab) on her head and holds flowers or ever- green sprigs in each hand. The dance teaches the young women. how to carry precious water-from wells back to the pueblo. + Thm Greense Goewmna ‘Tho Ntaich io skilled hasket wonuors PREPSecond Edition Moving Within The Circle se, Contemporary Native American Music and Dance ve American WG Bryan Burton, D. Mus. Ed Book Design: Claudia Chapman World Music Press% % 24g Jo PUEBLO SUNRISE SONG and CALL TO SUNRISE (CD: 37,38) H learned these two songs in western New Mexico from Zuni musicians. Sunrise songs are performed early in che morning to welcome the sun and co thank the sun for reeurning another day and giving lif ro all things upon the Earth. Zuni Pueblo first had contact swith Baropean culture in the early 1500s when explorers secking the Cities of Cibola visited Zuni villages. Fstebano, 2 Moorish slave who was eventually killed, sent word to Fray Marcos that he had discovered a city of gold at Zuni. Marcos reported that he saw the sun reflected from buildings of gold when viewing Zuni from ‘distance. Coronado’ expedition sought this golden city at Zuni, but was disappointed to find only mud biildings with mica flecks reflecting the sunlight ‘Although Zuni was “conquered” by Coronado, efforts to convert the Zuni people co Christianity failed and missions were withdrawn, Despite neatly five yhundzed years of contact with Buropean culture, the ‘Zuni remained faithful to their tradicional beliefs and have continued to practice their rituals and ceremonies based on these traditions to the present time. The Zuni continue to live on the lands where they were first encountered by the Spanish explorers, and have maintained their musical and artistic culeure and unique language (related to no other language on earth). 144 & “Call to Suncise” is a transcription of one of the most popular of all Native American tunes, ‘According to ethnomusicologist David McAllestes, the anthropologist Frank Hamilron Cushing learned this song afier he was adopted into che Zuni tribe, around the turn of the last century. He shared it with, other researchers and musicians, and it was eventually issued as sheet music, used in movie scores, and found: its way into various collections and repertoires. Th song continued to be passed down within che Zune ‘community in the traditional way. Versions appeat at least ten commercial recordings of Native Ameti ‘music ranging from a simple presentation by Chg ‘Mahooty (Music from Zuni Pueblo on the Tribal, International label) co an elaborately orchestrated performance by John Rainer, Js. (Songr of the Ind ‘Flute, Volume 2 from Red Willow Songs) ‘versions include both solo lute and vocal peegit of this song. Contemporary composer James DeMast to Sunrise” in his works Spirit Horses and P of Christopher Columbus, Both works wer £0 for and feature R. Carlos Nalcai performi ‘Ametican flute accompanied by chamber (A recording of Spirit Horses is available ingStyle and Substance 1) Recognize vocal style traits musical texture and timbre from Southwest Native American culture. 2) Gain an understanding of Zunl culture through a brief overview. 3) Compare and contrast vocal and ihstrumental versions of the same Sons: LISTEN AND LEARN While listening to the recordings 1) Discuss Southwestern Native “American vocal style. (See page 23) 2) Discuss Southwestern Native enercan flute syle (See Chapter Four) +3) Compare the instrumental version gra woe versions Refer to this Vstening guide as an aid: «Vocal or instrumental accompanied or Unaccompanied Same rhythms or Differing rhythms {in each version and/or between versions) 1 pescribe melody of vocal version: Describe melody of instrumental version. FOLLOW UP Watch videos or go to a live performance of The American indian Dance Theater. This page: Rooftop at Zuni Pueblo provide “ae bor view of dancing. Historic pho) Opa The aliwa-Saponi Dancer perform a round dance 46 | } Zuni Rainbow SUNRISE CALL «o> A Voice Lifted To The New Day Music from Zuni Pueblo by Chester Mabooty and Fi | ‘Tribal Music Internacional (TMI 008} © 1990. (Used by permission.) Scansse songs ate performed ax dawn 19 shank the sun ig earning with is guarantee that life will eonding# © ois Og em day. Many agricultually-based culurss had similar sites, or jmued frig and prospericy. ‘The Zni people have f Zuni River Valley, in New Mexico, for thousands of ss “Among another Southwestern groups there is a Proveldy succzssfal and live a happy life, one must ise carly each 8a “hc son, The Hopi present newborn children © the sun day after bieth. Chester Mahooty was a well-kaown at composer. (He was also a mastet jeweley-maker) ‘he Zuni Rainbow Dancers (founded by bis mother by his wife Dorothy) ‘and the American Indian ‘Danee Ths member of these groups, Mahooty toured North Amelie soa taped performance by thf and appeared on television i Indian Dance Theatre o ‘Members of the performing group o” this recordings “Mahoory—vocals and drum; Dorothy Mahoory—B0% aaa cnner Mahoory (ther grandson) shake aeaveer ae reared by blood andr haPUEBLO SUNRISE SONG cco: 37) I Flute Rattle swirl continuously CALL TO SUNRISE (co: 38) 145LEM Tro a ts ty (Ger [955 eee pees CDIE-11 Page 398 0 vonsonp3 uosseay soe mBUKdogPeeaonon BEAR DANCE Devils Tower in Wyoming A Kiowa Bear Story tong ago, 2 brother and his seven sisters were gathering berties and roots for food when, suddenly, the brather fll to the ground writhing and groaning. Dark hair began to grow all over his body and his fingernals turned into long claws His sisters dropped thelr baskets and rushed to see What was wrong and help thee poor brother. However, a5 soon as they gathered around him, the brother leapt up and began to chase his sisters, all the whe rearing loudly and grabbing for them with his claws, The seven gis ran through the woods a quickly as they could bu the brother steadily gained on them, ‘The sisters began climbing the largest tree they could find in a desperate effort to escape their brotherstumed:-bear. AS they climbed, the tee magically began to grow taller and taler Feaching into the clouds. The bear, who was once thalr rather, began to climb ater his sisters, but his weight caused him to sip back and he had to dig his claws more deeply into the vee to continue ‘timbing, This et cleep scratches in the tree's twunk Which may be seen to tis day When the sisters reached the top of the tree and looked down, they saw the bear continuing to climb toward ther. They cle to the Creator for help and leapt upward from the ree. A gentle ‘ind caught the seven gits and cartied ther safely Into the sky were, each night, they may stil be $#en looking home to the Earth watching over and Protecting their people * The tee tumed into “Devils Tower” in Wyoming. ‘ok atthe plture to see the bear scratch mars. Exploring Musical Form 1) While listening to the “Bear Dance,” can you identify two parts ? Yes. 2) Can you describe the differences between these parts? First part stays on same pitch and isin a duple pattern; second part begins higher and gradually descends to pitch of first part ands ina triple patter. 3) Listen to Bear Dance again: + Trace the melody in the air with your hand. * Show the form in your movement * Dance “low” bear activities to first part and “high” bear activities to the second part. What ae some examples of "low" activites and “high” bear activities a bear might do? Children may respond with: Low activities might include bending over to pick berries, slapping fish out of water, or rooming. High activities might include scratching a tree trunk, stand on back feet and “roarina’ while pawing in the air, or picking nute from tre Related Arts: Storyelling and Literature 1) Native American tribes have many stories about bears in their traditional lore. * Do you know any of these stories? + Do you know Native American stories about other animals? 2) Awell-known bear story comes from the Kiowa Nation. * In addition co explaining how a person turned into a bear this story explains the origin of Devils Tower in Wyoming and the Pleiades or Seven Sisters constellation, You may wish to tell chis story, adapting i as necessary for the age of the children. To further extend this activity, ask the children to retell the story in their own words.Songs of Honor MakupMusic 3 How many generations are alive in your family? Do you have grandparents or great-grandparents? Where do they live? “O hal'lwe" is a song that honors the generations of women from the Nanticoke nation. The Nanticoke people lived in what is now Delaware. Listen to “O hal‘Ilwe.” Tap lightly with the beat. Then sing, the song, 2” Ohal'iwe ‘Native American Women's Dance of the Nanticoke Yu no fe yu ne la, yu no he yu ne ia, yu no he yu ne ia yu mo he yu ne ia O hal’-lwe 0 hal’-lwe =O hal’-lwe = hal’ - Iwe + + hal’ - Iwe oPowwow Dance Listen to Round Dance, and think about what it would be like to take part in a powwow, a tribal gathering. Move your feet to match the tempo. tre 27 Geren & Traditional as performed by Stoney Park Drum This round dance is accompanied by vigorous singing and the steady beat of drums. V Native American powwow from the Passamoquoddy People We are the stars which sing. We sing with our light. We are the birds of fire, | We fly across the heaven.THE LEGEND OF THE SLEEPING BEAR Long ago a great famine had spread over the land. Longingly, a mother bear and two famished cubs walked the shore on the Wisconsin side, gazing wistfully across the great lake at Michigan, which in those days was the land of plenty (as it is today). Finally hunger overcame their timidness and the bears launched out, trying to swim to Michigan. As they got closer and closer to the Michigan shore, the mother's words of encouragement urged on the weary cubs. When only twelve miles from the land of plenty, the mother's heart was rent as she saw a babe sink and drown. With the remaining cub she struggled to gain the beach. Two miles of slow dragging and the second of her beloved cubs also perished. The mother reached the beach, alone, and crept to a resting place where she lay down facing the restless waters that covered her lost ones. As she gazed, two beautiful islands slowly rose to mark the graves of the cubs. The Great Spirit Manitou created two islands (North and South Manitou Islands) to mark the spot where the cubs disappeared and then created a solitary dune to represent the faithful mother bear. This picture of the Sleeping Bear dune, as it appeared in the early 1700's, shows its striking resemblance to a sleeping bear. Today, the vegetation in the vicinity has changed markedly, and the resemblance is less obvious. In particular, trees now block the view from several angles.EXPLORING MUSICAL FORM 1) While listening to Haliwe-Saponi Canoe Dance, can you identify two sections? (yes: part one = measures 1-6, part two = ‘measures 7-the end) 2) Can you describe the differences between these parts? (Part one begins on a lower pitch and generally ascends and descends in @ arc Tike melodic pattern; part two begins on a higher pitch and generally descends.) 3) Is there a phrase that appears in both parts? (ves: the brief segment “ya we ya o-we" found in measure three (with pick-up note in measure two) recurs several times throughout the song and is found in both part one and part two.) Eastern dugout log canoe crafted by Jeff Kalin, Cherokee. Mr. Kalin isa consultant to museums curators and archaeologist in the analysis of artifacts. He bas consiructed prehistoric ses and props for filmmakers ‘Skilled in all aspects of Native American indigenous arts, Mr. Kalin has taughe shose hills to others, including hands-on workshops forall ages of children and adults wiv primirivetechmologies.com 60 HALIWA-SAPONI CANOE DANCE (co: 7) Source: Bedford, Pennsylvania, September, 1989. Tribe/Natio Haliwa-Saponi Recording: “Canoe Song” on companion recording. "This version performed by the Haliwa-Saponi Singers, under the direction of Ruby Olsen (currently from York, PA). The group has cexisted for approximately fiftecn years. Background: ‘The Saponi originared in the mid-Atlantic region of the Eastern ‘Woodlands. Small bands were found throughout the 1700s in North Carolina and Virginia. As pressure from encroaching non-native settlements grew, the Saponi migrated northward through Virginia, Maryland, and Pennsylvania, ultimately reaching New York where the] were adopted by the Cayuge division of the Iroquois Confederation in 1753. The Haliwa-Saponi maintain a tribal office, day care center, and craft score in Hollister, Norch Carolina. “Hialiwa" is detived from 45 Halifax and Warren counties in North Carolina, the area where most 3 of this group reside. A group of Haliwa-Saponi are feequent performers at pow-wows and Native American cultural fairs throughout the mi ‘Adlantic, often including relatives from Seneca and Tuscarora tribes (also part of the Iroquois group) as part of the ensemble, On one rece ‘occasion, the group included one Navajo, one Sioux and one Senece 25] swell as several Saponi ‘This performing group finances visits to friends and ocher vacation 1g travel through these demonstrations and performances, Often a blanke! 3 dance is performed, where a blanket is placed on the ground ot catried % through the crowd for contributions. Otherwise an admission fee maj be charged.Hwe ya he hwe ya hwe we ya hwe we ya hwe Ya owe ha ya we ha yo hwe ya hwe ya hwe ya hwe ya HALIWA-SAPONI CANOE DANCE (o:7) hwe yao - we Ya wo hwe yao = we. SSS ‘Ya hwe ha ya we ya Dance Instructions This dance imitates the motion of traveling in 2 canoe. ‘The activity can be considered either as 2 game or instructional dance for children. (Native Americans have long used songs and dances to ceach hunting and domestic skills.) 1) Several dancers form a single-fl line behind a lead dancer. The second and subsequent dancers place hands on the waist of the preceding dances. The hands may rest ‘on the upper arms, if desired, rather than on the waist. + (This dance group represents the paddlers in a canoe. ‘Three or four dancers per group is a workable number.) *» 2)The groups move: 9 fc to che lef in asde-step motion + 06 RLRLRLR reaegea ) then back to the right. 10 @ RLRLRLR reasgeg 3) There isa forward motion led by the first dancer ‘moving in a generally clockwise motion. The lead dancer serves as “navigatoc” determining the path of the canoe. 4) Elbows and arms move in a rowing motion, as ifthe dancers are paddling a canoe. 5) Collisions may take place becween lines of dancers, but gradually, skillflly-maneuvered close calls will be the order of the day. aJn Beauty | walk With Beauty before me, | walk With Beauty behind me, | wark With Beauty above me, | walk With Beauty all around me, 1 walk With Beouty within me, I walk In Beauty, itis finished. 4“ T WALK IN BEAUTY (CD: 2) Source: Flagstaff, Arizona, gathering; 1989 Tribe/Nation: Apache/Navajo Background: ‘Navajo believe humanity to be part of a delicately balanced univers in which all forms of life as well as natural elements interrelate and 2 interact wich no part being either more or less important than another ‘The Navajo refer to this concept as hozha, (technically spelled Héehés or Hézhéén) which is commonly translated as “beauty” although thé concept has ltd to do with popular ideas of what beauty means. Ir does not refer to physical attractiveness, fashion sense or hair style. It is an inner state of being, that can manifest itself in life and attirudes. (Many world traditions recognize this state with a special word.) Whea an individual maintains this balance, one is said ro “walk in Beauty.” (Only humans can upset this balance. When it is upset, a special rite is performed for the general well-being of an individual or group. Upo completion of these extremely complex rites, balance is re-established, and the individual once again “walks in Beauty” wich the universe, This song was written by Arlene Nofehissey Williams, Navajo, and was frst recorded several years ago on a commercial recording of the Lamanite Generation produced at Brigham Young University, which many Native American students ittend. It is now commonly sung at pow-wows in many languages and versions, invested with feelings of genuine good will Ir is not part of any traditional Navajo ceremony, but incorporates phrases based on poetry used in a rite. The English Iyrics used in this song do not accurately reflect che deeply religi concept of hozho held by many traditional Navajo. These words, however, should be considered neither as portraying actual religious belief nor as a trivialization of such beliefs. This is simply a song with great curcency in the souchwestern United States. The concept of seeking universal harmony is expressed in the text which is related to § the (poctic) translation ofa fragment ofthe actual lengthy chant, ‘Those from the Western cultures too often have sought to é restructure “primitive” cultures according to Western models, failing 10 & recognize the depth and beauty of the Native philosophies and belief. All humankind can well heed the call for universal harmony present in Native American culture, and scek to “walk in Beauty.” This version of “I Walk in Beauty” was learned from an Apache ‘woman singer performing during a gathering in Flagstaff, Arizona. The = song was sung in honor of the Navajo with verses in Apache, Navajo, and English. Members of the “audience” rose in honor of all people and some began a simple movement resembling the Friendship Dance described on page 52, Even those unfamiliar with the words hummed or sang along, each making an individual contribution to the joining of all peoples in universal harmony and peace.I WALK IN BEAUTY «co: 2) Apache/Navajo Arlene Nofeisiey Williams SS yeam for Beau - ty T do, yes 1 do. 1 learn of — Beau - ty, yes, I do, you know I do. I beam with Beau-ty, just for you and on - ly you, He ne + ya = na, he ya he ya - na, llssrations on opposite page: Above: Painting by Jacqueline Hughes, Haida (1956-2007). The moccasins in the illustration Bere made fr her by her grandmother Photo courtesy of the arts. Below: Woman making an offering of corn meal. Tifa cast brooch with turquoise stone setting by Darryl Begay, Navajo luermith, Tufa casting involves carving the design directly ir stone. More of his award winning work, and that of his wife becca. may be seen on their website, wnvw RedSireakDesigns.com, Photograph courtesy of the artis. 6nN MAHK JCHI o: 28) Recorded by Ulali Dai serves ies name from the Tesora word for Wood Thrush. This name honors a woman in tribal lore who had a beautiful singing voice and bore the zame Ulali. The members of Ula are Pura Fe, Soni, and Jennifer. They describe themselves as a “First Nations ‘women's a cappella trio that sings music in the many styles and languages of our ancestors in the Western jemisphere.” Since coming together in 1987, Ulali has performed and toured extensively. They have appeared at Woodstock 1994, the Olympics, and made numerous PBS appearances, Ulali has recorded and performed with Robbie Robertson and other leading Native American performers. They were featured in che documentary ‘Rockin’ Warriors. Their music is on the soundtrack of the motion piceure Smoke Signal: and the network a4 production Best Music Video at che American Indian Film Insti Awards for “Follow Your Heart’s Desire.” % The music of Ulali is a unique blend of Native © American, Southeast choral singing (pre-blues and gospel) and pre-Columbian (before the borders) an contemporary popular styles. The diversity of style genres pecformed on their album Mab Jchiis imps by any standard. Ulali’s philosophy of both music a heritage is best stated in their own words: “We do.n ourseles ‘Native American’ because our blood and péol borders, Our brothers and sisters run from North to Sox and into and under he waters for miles and ears back| ‘At the time Robbie Robertson was making his first Native album, he uncovered a number of beautiful archival recordings of Native Peoples, all of which were quite old. He shared his research with Soni, who took the recordings home to listen to. From these archival recordings, she selected a song from the Plains which was sung by a man. This is the melody of “Mahk Jehiv” Somt passed the melody along to Pura Fe, who finished it and wrote the lyrics. Ulali created the arrangement and performed the song on a recording with Robbie Robertson. Ulali later re-recorded the song on their own album. This lacer version, without Robertson, is the one heard in this lesson The group took the song to their good friend Lawrence Dunmore for translation. Lyrics: In Saponi) Mahk Jchi Tam Buooi Yahmpi Gidi Mahk Jchi Tam Buooi Kan Spewa Ebi ‘Mahmpi Wah Hoka Yee Nonk Tehond Tani Kayee Tiyee Gee-we-me Eetiyee Nanka Yahe Yamoonieah Wajitse Translation: Our hearts are full Our minds are good. Our ancestors bring strength and they give strength to us. They tellus to stand tall, sing, and dance. Never forget who you are orwhere you come from. LUSTEN AND LEARN 1) Identify the instruments. 2) Describe the vocal style. 3) Create a timed listening guide and identify sections of “Mahk Jehi” using unison singing and three part singing. 4) Sing the song along with Ulali. FOLLOW UP Aithough women in matriarchal tribes have always been leaders and important singers, only in recent years have Native ‘American women performers become widely acknowledged by researchers in non-Indian cultures as leaders both in preservation of traditional musics and in forging new directions in creating new styles and genres building upon multiple cultural influences. Listen to recordings by Walela, consisting of Rita Coolidge, her sister, and her niece, Whose music is derived from popular genres as well as tribal music (and inspired to form their own group and take the name Walela after touring with Ulali as part of Robbie Robertson's Red Road Ensemble), and multiple performers on such recordings as Heartbeat Voices of First Nations Women (Smithsonian Folkways) to more fully experience this exciting development in Native American ‘women's recordings and performance. Special thanks to Jennifer Kreisburg for her assistance in creating the Ulali lesson. us