Browse Person - 19 results
A Century of Coast Salish History at Lummi
produced by Gregory Fields, fl. 2016 (Lincoln, NE: University of Nebraska Press, 2016), 51 mins
The video, “A Century of Coast Salish History,” is a digital complement to the published book, Rights Remembered: A Salish Grandmother Speaks on American Indian History and the Future (University of Nebraska Press, 2016). Material in the video alternates between an interview with Pauline Hillaire, videographed...
Open Access
produced by Gregory Fields, fl. 2016 (Lincoln, NE: University of Nebraska Press, 2016), 51 mins
Description
The video, “A Century of Coast Salish History,” is a digital complement to the published book, Rights Remembered: A Salish Grandmother Speaks on American Indian History and the Future (University of Nebraska Press, 2016). Material in the video alternates between an interview with Pauline Hillaire, videographed in 2003, and an audio interview, recorded in 2011. The 2011 audio interview forms the soundtrack of an oral history narration accompan...
The video, “A Century of Coast Salish History,” is a digital complement to the published book, Rights Remembered: A Salish Grandmother Speaks on American Indian History and the Future (University of Nebraska Press, 2016). Material in the video alternates between an interview with Pauline Hillaire, videographed in 2003, and an audio interview, recorded in 2011. The 2011 audio interview forms the soundtrack of an oral history narration accompanied by images of life at Lummi over the course of a century, beginning in 1911. The images were selected from Hillaire’s personal archives and from several institutional archives. They offer a glimpse into the changes –and the continuity– of life on the Lummi Reservation throughout the twentieth century. Hillaire opens the video singing “Red Cedar Tree Song,” and she discusses her family life. Other topics include language loss, Chinuk Wawa (Chinook Jargon), the North Pacific Coastal region, Joseph Hillaire (Joe Hillaire), Edna Hillaire (Edna Price Hillaire Scott), marriage customs, motherhood, native regalia, the Setting Sun Dancers, Frank Hillaire (Haeteluk), U.S. Indian policy, Children of the Setting Sun Dancers, Benjamin Covington (Cuth Sells), Emma Balch, longhouses, Duwamish et al. v. U.S. (1927), Lummi Tribes of Indians v. U.S. (1951, affirmed 1972), repression of ceremonial gatherings, shovelnose canoe, food, seafood, salmon, fishing, reefnet canoes, smokehouses, sacred sxwaixwe masks, Mary Ellen Hillaire, education, Longhouse Education and Cultural Center, Evergreen State College, deer, xexmein, Indian Consumption Plant, Wild Celery, colonialism, the Lummi flag, Scott Kadach’āak’u Jensen, Deborah Covington Paul (Hae’til’wit II), Western Washington University, the Iraq War (2003-2011), WWII, U.S. armed services, veterans, alcohol, prohibition, trade, rum, cotton, silk, velvet, fish, furs, survival, Indian-white relations, and the environment. Persons who appear in the photographs include Rebecca Chamberlain of Evergreen State College, Robin Wright of the Burke Museum at the University of Washington, Anna Halla (Tlingit), Mary Wagner (Saanich), Gregory Fields of Southern Illinois University Edwardsville, carver Scott Jensen of Bellingham, artist Courtney Jensen of Bellingham, and Barbara Brotherton of the Seattle Art Museum. Among the final images are the Children of the Setting Sun, dancing in Pauline's honor in Washington, D.C. in 2013, when she was named the Bess Lomax Hawes National Heritage Fellow.
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Collection
Women and Social Movements, Modern Empires Since 1820
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Gregory Fields, fl. 2016
Date Published / Released
2016
Publisher
University of Nebraska Press
Speaker / Narrator
Pauline R. Hillaire, fl. 1992
Person Discussed
Pauline R. Hillaire, fl. 1992, Joe Hillaire, fl. 1963
Topic / Theme
Political and Human Rights, Family Rights, Social and Cultural Rights, Salish, Lummi, 21st Century in World History (2001– ), 20th Century in World History (1914--2000)
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Interview 1 with Johnny Arlee (Bitterroot Salish, Confederated Salish and Kootenai tribes), Arlee, MT. (July 6, 2008)
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 27 mins
Johnny Arlee is a spiritual leader and keeper of traditional knowledge for his tribe. Was raised by his grandparents, who taught him the old ways and songs. Rode the rails to California in his youth, served in the U.S. armed forces, returned to the Flathead reservation during the period when Red Power gained tract...
Open Access
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 27 mins
Description
Johnny Arlee is a spiritual leader and keeper of traditional knowledge for his tribe. Was raised by his grandparents, who taught him the old ways and songs. Rode the rails to California in his youth, served in the U.S. armed forces, returned to the Flathead reservation during the period when Red Power gained traction, began learning from elders and reclaiming his tribal heritage. Wrote and produced a pageant about Lewis and Clark’s encounters w...
Johnny Arlee is a spiritual leader and keeper of traditional knowledge for his tribe. Was raised by his grandparents, who taught him the old ways and songs. Rode the rails to California in his youth, served in the U.S. armed forces, returned to the Flathead reservation during the period when Red Power gained traction, began learning from elders and reclaiming his tribal heritage. Wrote and produced a pageant about Lewis and Clark’s encounters with the Salish in Montana that demonstrated and celebrated elements of Salish history and tradtion. Performed during the Lewis & Clark Centennial in 2003-04. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-07-06
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Johnny Arlee, fl. 2010, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Johnny Arlee, fl. 2010
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Salish, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview 1 with Kenneth Charles Eaglespeaker (Blackfeet, Kainah), Browning, MT (November 17, 2008)
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 37 mins
Kenny’s ancestry includes Kainah (Blood division of the Blackfeet Confederacy), plus Sioux, two tribes that he jokes “were at war with each other.” His baby name, Asan, means the dark, holy red paint used on faces for ceremonies. Recounts origins of powwow dance in Grass Dance, a warrior society dance transf...
Open Access
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 37 mins
Description
Kenny’s ancestry includes Kainah (Blood division of the Blackfeet Confederacy), plus Sioux, two tribes that he jokes “were at war with each other.” His baby name, Asan, means the dark, holy red paint used on faces for ceremonies. Recounts origins of powwow dance in Grass Dance, a warrior society dance transferred across several plains tribes to the Blackfeet. Adopted his grand-nephew whose mother struggled with alcohol, taught him Blackfeet...
Kenny’s ancestry includes Kainah (Blood division of the Blackfeet Confederacy), plus Sioux, two tribes that he jokes “were at war with each other.” His baby name, Asan, means the dark, holy red paint used on faces for ceremonies. Recounts origins of powwow dance in Grass Dance, a warrior society dance transferred across several plains tribes to the Blackfeet. Adopted his grand-nephew whose mother struggled with alcohol, taught him Blackfeet culture, including drum songs and Grass Dance. Tradition of dances honoring warriors morphed into honoring veterans who fought in U.S. forces. His uncle served in Vietnam, saw much that was wrong with US involvement in southeast Asia. Later adopted his grandson and raised him as a son also. Taught him Blackfeet culture and practices, including drum songs and Grass Dance. Tells story of his ancestor, Running Eagle, a woman warrior. She wanted to go on war trail, but men told her women cannot do this. She followed war party out one day, so they let her tend the horses. During battle, she saved the life of another, and became accepted, respected as a warrior. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-11-17
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Kenneth Charles Eaglespeaker, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Kenneth Charles Eaglespeaker, fl. 2008
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Blackfoot, Kainah, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
Interview 2 with Johnny Arlee (Bitterroot Salish, Confederated Salish and Kootenai tribes), Arlee, MT. (November 21, 2008)
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 57 mins
Explains elements of Salish language and culture, and pre-contact lifeways. Dances in powwows for those who can no longer dance. Powwows are a community event, a celebration. Adults adopt and raise children who are in need of parenting, “not a big deal, it’s what we do.” This interview is one of many filmed...
Open Access
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 57 mins
Description
Explains elements of Salish language and culture, and pre-contact lifeways. Dances in powwows for those who can no longer dance. Powwows are a community event, a celebration. Adults adopt and raise children who are in need of parenting, “not a big deal, it’s what we do.” This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as comm...
Explains elements of Salish language and culture, and pre-contact lifeways. Dances in powwows for those who can no longer dance. Powwows are a community event, a celebration. Adults adopt and raise children who are in need of parenting, “not a big deal, it’s what we do.” This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-11-21
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Johnny Arlee, fl. 2010, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Johnny Arlee, fl. 2010
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Salish, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
Interview 2 with Kenneth Charles Eaglespeaker (Blackfeet, Kainah), Browning, MT (March 27, 2009)
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 18 mins
Blackfeet culture is not static, always innovating, bringing values and practices forward in new venues, new forms. “New ideas get adopted and become tradition really fast.” In 1990s, The Kainah, or Blood division of the Blackfeet Confederacy in Alberta, Canada bought a herd of bison. Returning bison to the B...
Open Access
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 18 mins
Description
Blackfeet culture is not static, always innovating, bringing values and practices forward in new venues, new forms. “New ideas get adopted and become tradition really fast.” In 1990s, The Kainah, or Blood division of the Blackfeet Confederacy in Alberta, Canada bought a herd of bison. Returning bison to the Blackfeet Reserve was a symbol of hope and renewal. Describes politics around it. Tells traditional stories; Learned from his mother and...
Blackfeet culture is not static, always innovating, bringing values and practices forward in new venues, new forms. “New ideas get adopted and become tradition really fast.” In 1990s, The Kainah, or Blood division of the Blackfeet Confederacy in Alberta, Canada bought a herd of bison. Returning bison to the Blackfeet Reserve was a symbol of hope and renewal. Describes politics around it. Tells traditional stories; Learned from his mother and grandmother. Painted tipi and rights to it. Crazy Dog society and its role. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities. [Original video cuts out a few minutes past the 1-hour mark]
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-03-27
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Kenneth Charles Eaglespeaker, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Kenneth Charles Eaglespeaker, fl. 2008
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Blackfoot, Kainah, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
Interview with Alberta Yazzee (Northern Arapaho/Navajo), Rigby, ID (June 1, 2009)
written by Alberta Yazzee, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 58 mins
Dancing at powwows teaches discipline and responsibility. Her father had a drum group at home, but they had four daughters and only one son, so the girls learned to sing too. Father is Navajo, taught them Navajo songs, wrote down Navajo words – 'singing papers.' This interview is one of many filmed from 2008 to...
Open Access
written by Alberta Yazzee, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 58 mins
Description
Dancing at powwows teaches discipline and responsibility. Her father had a drum group at home, but they had four daughters and only one son, so the girls learned to sing too. Father is Navajo, taught them Navajo songs, wrote down Navajo words – 'singing papers.' This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative per...
Dancing at powwows teaches discipline and responsibility. Her father had a drum group at home, but they had four daughters and only one son, so the girls learned to sing too. Father is Navajo, taught them Navajo songs, wrote down Navajo words – 'singing papers.' This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-06-01
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Alberta Yazzee, fl. 2009, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Alberta Yazzee, fl. 2009
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Navajo, Northern Arapaho, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview with Amorette Ground (Blackfeet, Amskapi Pikuni), Browning, MT (November 16, 2008)
written by Amorette Ground, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 31 mins
An athlete, Amorette was “like one of the boys” in middle school, got teased a lot, and it bothered her. In high school, Amorette ran cross-country, joined the boys wrestling team, and the Blackfeet boxing club. She likes the physical/mental challenge of these sports. Boys told her she didn’t belong in wres...
Open Access
written by Amorette Ground, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 31 mins
Description
An athlete, Amorette was “like one of the boys” in middle school, got teased a lot, and it bothered her. In high school, Amorette ran cross-country, joined the boys wrestling team, and the Blackfeet boxing club. She likes the physical/mental challenge of these sports. Boys told her she didn’t belong in wrestling/boxing, tried to push her out but she persisted. Became pregnant while on cross-country team, didn’t know at first, wondered wh...
An athlete, Amorette was “like one of the boys” in middle school, got teased a lot, and it bothered her. In high school, Amorette ran cross-country, joined the boys wrestling team, and the Blackfeet boxing club. She likes the physical/mental challenge of these sports. Boys told her she didn’t belong in wrestling/boxing, tried to push her out but she persisted. Became pregnant while on cross-country team, didn’t know at first, wondered why she was slowing down. She is raising her baby son Landon at home, with her father and mother’s help. Developed confidence, self-respect as result of persisting in wrestling and boxing, less bothered now by kids’ teasing. Also briefly talks about dancing at powwows. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-11-16
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Amorette Ground, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Amorette Ground, fl. 2008
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Blackfoot, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
Interview with Dolly (Mary L.) Linesbigler (Pend D’Oreille, Confederated Salish & Kootenai Tribes), St. Ignatius, MT (May 19, 2009)
written by Dolly Linesbigler, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 51 mins
Sings at drum, loves music, sang in church choir when young, learned drum songs within her family. As a child, would ride in car with her father, and “he’d be singin” and she learned songs from him that way. As an elder, she is a “song keeper,” called on to sing at Salish ceremonial occasions as well as...
Open Access
written by Dolly Linesbigler, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 51 mins
Description
Sings at drum, loves music, sang in church choir when young, learned drum songs within her family. As a child, would ride in car with her father, and “he’d be singin” and she learned songs from him that way. As an elder, she is a “song keeper,” called on to sing at Salish ceremonial occasions as well as at social events like powwows. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Danc...
Sings at drum, loves music, sang in church choir when young, learned drum songs within her family. As a child, would ride in car with her father, and “he’d be singin” and she learned songs from him that way. As an elder, she is a “song keeper,” called on to sing at Salish ceremonial occasions as well as at social events like powwows. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-05-19
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Dolly Linesbigler, fl. 2009, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Dolly Linesbigler, fl. 2009
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Salish, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
Interview with Dugan Coburn (Blackfeet), Great Falls, MT (March 29, 2009)
written by Dugan Coburn, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 9 mins
A dancer, Dugan describes symbolism of movements taken from Northern Plains sign language. Dugan is stay-at-home Dad who raised two daughters, took ballet, joined ballet company in Great Falls. Became choreographer, integrates Blackfeet history, dance, and traditions with classical ballet. Started urban Indian yo...
Open Access
written by Dugan Coburn, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 9 mins
Description
A dancer, Dugan describes symbolism of movements taken from Northern Plains sign language. Dugan is stay-at-home Dad who raised two daughters, took ballet, joined ballet company in Great Falls. Became choreographer, integrates Blackfeet history, dance, and traditions with classical ballet. Started urban Indian youth dance project in Great Falls. Choreographed a dance commemorating Lewis and Clark’s encounters with northwestern tribes, performe...
A dancer, Dugan describes symbolism of movements taken from Northern Plains sign language. Dugan is stay-at-home Dad who raised two daughters, took ballet, joined ballet company in Great Falls. Became choreographer, integrates Blackfeet history, dance, and traditions with classical ballet. Started urban Indian youth dance project in Great Falls. Choreographed a dance commemorating Lewis and Clark’s encounters with northwestern tribes, performed with Great Falls Symphony Orchestra. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-03-29
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Dugan Coburn, fl. 2009, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Dugan Coburn, fl. 2009
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Blackfoot, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
Interview with Elsie Ground (Amorette’s mother, Kootenai), Browning, MT (March 28, 2009)
written by Elsie Ground, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 59 mins
Member of Crazy Dog society with her husband Rick. Historically, Crazy Dogs kept order in camp, previously a male society, now include women too. Talks about powwow dance and drum song performances overseas as cultural ambassadors in Poland. Describes how Crazy Dogs recruit or “capture” a new member. This int...
Open Access
written by Elsie Ground, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 59 mins
Description
Member of Crazy Dog society with her husband Rick. Historically, Crazy Dogs kept order in camp, previously a male society, now include women too. Talks about powwow dance and drum song performances overseas as cultural ambassadors in Poland. Describes how Crazy Dogs recruit or “capture” a new member. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documen...
Member of Crazy Dog society with her husband Rick. Historically, Crazy Dogs kept order in camp, previously a male society, now include women too. Talks about powwow dance and drum song performances overseas as cultural ambassadors in Poland. Describes how Crazy Dogs recruit or “capture” a new member. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-03-28
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Elsie Ground, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Elsie Ground, fl. 2008
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Kutenai, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×