Browse Person - 14 results
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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
×
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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
×
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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
×
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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
×
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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
×
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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
×
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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
×
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Interview with Felicite Sapiel McDonald, her adult daughters, Clara Charlo & Violet Trahan (Bitterroot Salish, Confederated Salish and Koote...
written by Violet Trahan, fl. 2011, Clara Charlo, fl. 2011 and Felicite Sapiel McDonald, fl. 2011; 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 23 mins
Felicite, the elder, learned Salish songs from her parents and grandparents, and she has passed these songs to her adult daughters, Clara and Violet. They know ceremonial songs as well as social (powwow) songs. They sing with Yamancut, a Salish drum started by Johnny Arlee that specializes in traditional Salish so...
Open Access
written by Violet Trahan, fl. 2011, Clara Charlo, fl. 2011 and Felicite Sapiel McDonald, fl. 2011; 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 23 mins
Description
Felicite, the elder, learned Salish songs from her parents and grandparents, and she has passed these songs to her adult daughters, Clara and Violet. They know ceremonial songs as well as social (powwow) songs. They sing with Yamancut, a Salish drum started by Johnny Arlee that specializes in traditional Salish songs “from way back.” Felicite describes going with her parents and grandparents to sing at rodeos and Wild West Shows during the ea...
Felicite, the elder, learned Salish songs from her parents and grandparents, and she has passed these songs to her adult daughters, Clara and Violet. They know ceremonial songs as well as social (powwow) songs. They sing with Yamancut, a Salish drum started by Johnny Arlee that specializes in traditional Salish songs “from way back.” Felicite describes going with her parents and grandparents to sing at rodeos and Wild West Shows during the early and mid-twentieth century. Scott and Lane ran a Wild West Show (or rodeo) that they sang with. One time the show went all the way to New York City. Tells stories about their experiences in New York. Speaks in Salish, translated by Clara, about the cultural losses caused by colonial control of Native peoples in the northwest. “They wanted us all to become Suyappes [whites].” Mentions that Salish people responded to federal prohibitions on ceremonies and dances by holding them in secret. To this day, the Salish people continue to hold their traditional mid-winter Jump Dance. “I guess we won,” she says wryly. Clara and Violet say it’s an honor to learn these old songs, and they sing “not to take over,” but to maintain valued cultural practices and meanings. 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
2011-07-30
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Violet Trahan, fl. 2011, Clara Charlo, fl. 2011, Felicite Sapiel McDonald, fl. 2011, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Violet Trahan, fl. 2011, Clara Charlo, fl. 2011, Felicite Sapiel McDonald, fl. 2011
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
×
