The question I am occasionally asked about my articles on Indigenous Peoples is "why are you as a Caucasian so interested in Indigenous matters?" The answer is that my adopted sister was Indigenous by birth, and my family lived in the heart of the Northern New Mexico Pueblos in Espanola. To walk an Indigenous Path was very hard on my sister. She was in both the Indigenous world and the Caucasian world. Her feet were firmly planted in both cultures, and the experiences she had with Indigenous people were very mixed.
The album I would like to discuss highlights a man with a similar dilemma, Robbie Robertson, whose history is equally in Judaism and Indigenous peoples. When I call Mr. Robertson's situation a dilemma, I mean to say that his own history as a child and during manhood mainly covered his history as a musician with Ronnie Hawkins and the Hawks, then later with The Band. Lyrically, Mr. Robertson chose to speak to a music audience hungry for the experience of American Life. Mr. Robertson was especially perceptive in his songwriting, reflecting perhaps his time spent with Bob Dylan on the road, and later at Big Pink, the home in rural New York state that hosted the famous experimental songs known as The Basement Tapes.
After the the Last Waltz, Mr. Robertson entered into the world of soundtrack production, often for the distinguished American Director Martin Scorcese. These experiences seemed to lead Mr. Robertson into a profession that was an excellent match for him, as he is an aficionado of film, dating from his teenage years on through to his adulthood. What was not as well known was Mr. Robertson's heritage as an Indigenous Member of the Mohawk Nation from Ontario, Canada. Mr. Robertson spent summers on the Six Nations Reservation southwest of Toronto.
Mr. Robertson was asked to supervise the soundtrack for the Ted Turner historical documentary series The Native Americans. The miniseries was the first major video work that was Native American centered rather than a dominant cultural view of Indigenous America. The documentary's influence was more widely accepted by Indigenous Nations because of the presence of Native Americans working in the series, including Mr. Robertson. Mr. Turner chose not to copyright the film, making it accessible to educational and cultural populations.
In making the Music for The Native Americans album, Robbie Robertson actively sought out other Indigenous musicians to perform their music. In this way, a wider sampling of the music being recorded by Indigenous artists could be shared. There is a tendency to think that Indigenous music consists of drums and hand carved flutes. The diversity of Indigenous Music reflects the various cultures making up Native America.
The album begins with coyotes howling over the chants of a sacred dance. The tune is called Coyote Dance. Ethereal synthesizer sounds accompany the chants, tastefully highlighted with echo, moving across the stereo perspective. The entire recording communicates the complexity of the Indigenous perspective on Nature. Nature is host to the various forms of life in their infinite diversity, and many tribes consider the Earth to be a living entity itself. This track includes Delphine Robertson, who is Mr. Robertson's daughter. Montana's own Apsalooke (Crow) chief, Plenty Coups is quoted: "...Our dust and bones, ashes cold and white, I see no longer the curling smoke rising, I hear no longer the sounds of the women...."only the wail of the coyote is heard."
Mahk Jchi is a breathtaking prayer from the Cherokee Nation. The three women singing on this track are Cherokee. The song is termed a heartbeat drum song. The drum is beaten by Benito, the famous drum player from New Mexico's famous Taos Pueblo. Accompanying him is Mazatl, of Aztec blood. Robbie Robertson plays keyboards here. Three distinguished Indigenous women sing the song. One of the women is Pura Fe, an Indigenous singer and instrumentalist. There is an article I wrote covering her early in my blog's entries.
From times long gone come the traditions of Indigenous tribes working together in cooperation for each other's benefit. In the last decade of the Nineteenth Century, a movement, The Ghost Dance, began.
Ghost Dancers believed that the Caucasians would be driven from the Indigenous tribes' traditional land and soldiers would die. The various tribal members came together to worship and to drive out the settlers and soldiers who had stolen their lands. Tragically, like Crazy Horse before him, Sitting Bull was assassinated at the site called Wounded Knee by several of the US
Army soldiers. I hope that you can read to your kids about the liquidation policy of the U.S. Army. Every American should read about history of the extermination efforts made by White Americans. Over 300 Indigenous Lakota men, women, and children died that cold day at Wounded Knee, and it was the largest number of Indigenous people killed at one time at the same site in U. S. A. history. Robbie Robertson narrates over traditional Lakota drums on this piece.
A Sioux Ghost Dance Prayer is quoted
"The whole world is coming
A nation is coming, a nation is coming
The eagle has brought the message to the tribe
The father says so, the father says so
Over the whole earth they are coming
The buffalo are coming. The buffalo are coming
The crow has brought the message to the tribe
The father says so, the father says so"
The fourth selection on the album is entitled "The Vanishing Breed. It is again a meditation on the dire condition of Indigenous people in the United States and also the entire Western Hemisphere. Lovely Indigenous flute is played over a beautiful synthesized string track. The music is authored by Douglas Spotted Eagle and Robbie Robertson.
The fifth track is especially moving, as it is entitled It is a Good Day to Die. The title is a quote from Lakota Warrior Crazy Horse prior to the Little Big Horn battle, in which the entire 7th Cavalry contingent led by Colonel George Armstrong Custer died. Custer made the error of taking 200 soldiers into battle against an estimated 10,000 Lakota and Northern Cheyenne men, women, children, and elderly people. The battle is estimated to have lasted under 20 minutes based on interviews with Indigenous warriors some 40 years after the battle. The narration, written by Robbie Robertson, contains one of the most sensitive and insightful set of lyrics Robbie ever wrote.
Black Elk, one of the most famous seers and mystics of Lakota medicine men, was a witness of the Little Big Horn battle. He is quoted as saying "Then another great cry went out in the dust--Crazy Horse is coming Crazy Horse is coming!" Off toward the West and the North, they were yelling, " Hoka Hey" like a big wind roaring, and making the tremelo: and you could hear eagle bone whistles screaming...."
Golden Feather, the next track, was inspired by the yearning of the Cherokee to return to their North Carolina and Virginia home. Written by Robbie Robertson, the song hints at the religious symbolism that a golden eagle feather has that underlies its significance to traditional tribe members. In many tribes the eagle is sacred because it flies higher than other birds. Eagles are in some tribes considered messengers to the Creator carrying prayers from tribal members. Background vocals are by Laura Satterfield, and Rita and Priscilla Coolidge.
In some tribes, when a tribal member finds a golden feather or a stone shaped like a heart, it is considered a blessing from the Creator.
Akua Tuta, the next selection, is a song in the native language of the Innu tribe in Quebec, Canada. Kashtin, the performer's name, is also from their native language. The lyrics are translated:
"Take care,
Take care of your someplace,
Take care of your grandmother,
Take care of youself"
The two men who make up Kashtin spontaneously began dancing when they were singing.
Words of Fire, Deeds of Blood, a song written by Robbie Robertson, puts into musical form one of the most eloquent chief's speeches in Indigenous history. After being pursued by the USA cavalry for over 1500 miles, Chief Joseph of the Nez Perce tribe, exhausted by the tribe's flight, surrenders his remaining tribe members and is taken to the Colville, Washington reservation. His eloquent statement to his tribe and the Caucasian soldiers who guarded him is perhaps the most moving of speeches by an Indigenous tribal leader.
The Cherokee Morning Song again features Rita and Priscilla Coolidge. The song is performed here with instruments that are used in prayer to the Creator. Also singing here is Laura Satterfield. Many tribes have a ritual that is dedicated to the sun. In some tribes, a certain clan or two run or dance to help the sun rise at dawn. The song is usually done in the tribe's own language.
The Di'neh people are the largest tribe in the United States. Their reservation sprawls over 3 states. The art, healing rites, singing and chanting, and other traditional practices are very old. The tribe has ceremonies that are practised privately away from prying eyes. When praying, the tribe believes they are open and vulnerable to evil spirits. The skinwalker is an evil presence that can take the shape of any animal or human it wants by slipping inside the body of the vulnerable person that is praying. Skinwalkers usually seek host bodies at night. Vision Seekers go to great lengths to avoid being overtaken by evil spirits.
Ancestor Song, the next track, highlights the importance of respect for deceased relatives. In most Indigenous tribal beliefs they have great influence over living tribal members. Many tribes believe that their deceased relatives are always present, living in the clouds floating overhead.
In the ancient ways, those living dance in complex dress complete with masks that cover the dancers' faces. They believe that the ancestor's spirits enter the masked dancers. They bring the gift of rain in the parched desert climate that would be uninhabitable without rain if the ancestors did not come to enter the body of their living descendants. They believe that if you lift the mask of the dancer, no one is visible, including the dancer who put on the mask.
Hopi tribal members believe that our planet has entered the fourth and final time in its existence. They believe that the world will again be destroyed as it was three previous times. They believe that the only way to prevent this eventuality is to live in peace with each other and the animals.
Sandy Kewanbaptewa, a traditional believer offers this prayer to the ancient one: "And now grandfather, I ask you to bless the white man. He needs your wisdom, your guidance. You see for so long he has tried to destroy our people, and only feels comfortable when given power. Bless them, and show them the peace we understand. Teach them humility. For I fear they will destroy themselves and their children as they have done so with Mother Earth. I plead, I cry, after all, they are our brothers."
The final selection on this beautiful album is entitled Twisted Hair. The song is written by Jim Wilson and Dave Carson. The song is written as a prayer to the Creator, and asks for the ways of love of Mother Earth return. The chorus that you hear in the background of this song is the sound of crickets slowed down. The beautiful voice is by Lakota opera singer Bonnie Jo Hunt. At this album's end, an album of prayer and benevolence, this Crowfoot prayer is quoted: " It is the flash of a firefly in the night-It is the little shadow which runs across the grass and loses itself in the sunset..."
This article is copyright 2017 by Peter Reum excluding quoted material from Capitol Records copyright 1992 by Capitol Records
All rights reserved by Capitol Records and Peter Reum
This article is respectfully dedicated to my adopted sister Susan whose struggle with living in two worlds destroyed her.
The album I would like to discuss highlights a man with a similar dilemma, Robbie Robertson, whose history is equally in Judaism and Indigenous peoples. When I call Mr. Robertson's situation a dilemma, I mean to say that his own history as a child and during manhood mainly covered his history as a musician with Ronnie Hawkins and the Hawks, then later with The Band. Lyrically, Mr. Robertson chose to speak to a music audience hungry for the experience of American Life. Mr. Robertson was especially perceptive in his songwriting, reflecting perhaps his time spent with Bob Dylan on the road, and later at Big Pink, the home in rural New York state that hosted the famous experimental songs known as The Basement Tapes.
After the the Last Waltz, Mr. Robertson entered into the world of soundtrack production, often for the distinguished American Director Martin Scorcese. These experiences seemed to lead Mr. Robertson into a profession that was an excellent match for him, as he is an aficionado of film, dating from his teenage years on through to his adulthood. What was not as well known was Mr. Robertson's heritage as an Indigenous Member of the Mohawk Nation from Ontario, Canada. Mr. Robertson spent summers on the Six Nations Reservation southwest of Toronto.
Mr. Robertson was asked to supervise the soundtrack for the Ted Turner historical documentary series The Native Americans. The miniseries was the first major video work that was Native American centered rather than a dominant cultural view of Indigenous America. The documentary's influence was more widely accepted by Indigenous Nations because of the presence of Native Americans working in the series, including Mr. Robertson. Mr. Turner chose not to copyright the film, making it accessible to educational and cultural populations.
In making the Music for The Native Americans album, Robbie Robertson actively sought out other Indigenous musicians to perform their music. In this way, a wider sampling of the music being recorded by Indigenous artists could be shared. There is a tendency to think that Indigenous music consists of drums and hand carved flutes. The diversity of Indigenous Music reflects the various cultures making up Native America.
The album begins with coyotes howling over the chants of a sacred dance. The tune is called Coyote Dance. Ethereal synthesizer sounds accompany the chants, tastefully highlighted with echo, moving across the stereo perspective. The entire recording communicates the complexity of the Indigenous perspective on Nature. Nature is host to the various forms of life in their infinite diversity, and many tribes consider the Earth to be a living entity itself. This track includes Delphine Robertson, who is Mr. Robertson's daughter. Montana's own Apsalooke (Crow) chief, Plenty Coups is quoted: "...Our dust and bones, ashes cold and white, I see no longer the curling smoke rising, I hear no longer the sounds of the women...."only the wail of the coyote is heard."
Cover Art for Music for The Native Americans
Mahk Jchi is a breathtaking prayer from the Cherokee Nation. The three women singing on this track are Cherokee. The song is termed a heartbeat drum song. The drum is beaten by Benito, the famous drum player from New Mexico's famous Taos Pueblo. Accompanying him is Mazatl, of Aztec blood. Robbie Robertson plays keyboards here. Three distinguished Indigenous women sing the song. One of the women is Pura Fe, an Indigenous singer and instrumentalist. There is an article I wrote covering her early in my blog's entries.
From times long gone come the traditions of Indigenous tribes working together in cooperation for each other's benefit. In the last decade of the Nineteenth Century, a movement, The Ghost Dance, began.
Ghost Dancers believed that the Caucasians would be driven from the Indigenous tribes' traditional land and soldiers would die. The various tribal members came together to worship and to drive out the settlers and soldiers who had stolen their lands. Tragically, like Crazy Horse before him, Sitting Bull was assassinated at the site called Wounded Knee by several of the US
Army soldiers. I hope that you can read to your kids about the liquidation policy of the U.S. Army. Every American should read about history of the extermination efforts made by White Americans. Over 300 Indigenous Lakota men, women, and children died that cold day at Wounded Knee, and it was the largest number of Indigenous people killed at one time at the same site in U. S. A. history. Robbie Robertson narrates over traditional Lakota drums on this piece.
A Sioux Ghost Dance Prayer is quoted
"The whole world is coming
A nation is coming, a nation is coming
The eagle has brought the message to the tribe
The father says so, the father says so
Over the whole earth they are coming
The buffalo are coming. The buffalo are coming
The crow has brought the message to the tribe
The father says so, the father says so"
The fourth selection on the album is entitled "The Vanishing Breed. It is again a meditation on the dire condition of Indigenous people in the United States and also the entire Western Hemisphere. Lovely Indigenous flute is played over a beautiful synthesized string track. The music is authored by Douglas Spotted Eagle and Robbie Robertson.
The fifth track is especially moving, as it is entitled It is a Good Day to Die. The title is a quote from Lakota Warrior Crazy Horse prior to the Little Big Horn battle, in which the entire 7th Cavalry contingent led by Colonel George Armstrong Custer died. Custer made the error of taking 200 soldiers into battle against an estimated 10,000 Lakota and Northern Cheyenne men, women, children, and elderly people. The battle is estimated to have lasted under 20 minutes based on interviews with Indigenous warriors some 40 years after the battle. The narration, written by Robbie Robertson, contains one of the most sensitive and insightful set of lyrics Robbie ever wrote.
Black Elk, one of the most famous seers and mystics of Lakota medicine men, was a witness of the Little Big Horn battle. He is quoted as saying "Then another great cry went out in the dust--Crazy Horse is coming Crazy Horse is coming!" Off toward the West and the North, they were yelling, " Hoka Hey" like a big wind roaring, and making the tremelo: and you could hear eagle bone whistles screaming...."
Golden Feather, the next track, was inspired by the yearning of the Cherokee to return to their North Carolina and Virginia home. Written by Robbie Robertson, the song hints at the religious symbolism that a golden eagle feather has that underlies its significance to traditional tribe members. In many tribes the eagle is sacred because it flies higher than other birds. Eagles are in some tribes considered messengers to the Creator carrying prayers from tribal members. Background vocals are by Laura Satterfield, and Rita and Priscilla Coolidge.
In some tribes, when a tribal member finds a golden feather or a stone shaped like a heart, it is considered a blessing from the Creator.
Akua Tuta, the next selection, is a song in the native language of the Innu tribe in Quebec, Canada. Kashtin, the performer's name, is also from their native language. The lyrics are translated:
"Take care,
Take care of your someplace,
Take care of your grandmother,
Take care of youself"
The two men who make up Kashtin spontaneously began dancing when they were singing.
Words of Fire, Deeds of Blood, a song written by Robbie Robertson, puts into musical form one of the most eloquent chief's speeches in Indigenous history. After being pursued by the USA cavalry for over 1500 miles, Chief Joseph of the Nez Perce tribe, exhausted by the tribe's flight, surrenders his remaining tribe members and is taken to the Colville, Washington reservation. His eloquent statement to his tribe and the Caucasian soldiers who guarded him is perhaps the most moving of speeches by an Indigenous tribal leader.
The Cherokee Morning Song again features Rita and Priscilla Coolidge. The song is performed here with instruments that are used in prayer to the Creator. Also singing here is Laura Satterfield. Many tribes have a ritual that is dedicated to the sun. In some tribes, a certain clan or two run or dance to help the sun rise at dawn. The song is usually done in the tribe's own language.
The Di'neh people are the largest tribe in the United States. Their reservation sprawls over 3 states. The art, healing rites, singing and chanting, and other traditional practices are very old. The tribe has ceremonies that are practised privately away from prying eyes. When praying, the tribe believes they are open and vulnerable to evil spirits. The skinwalker is an evil presence that can take the shape of any animal or human it wants by slipping inside the body of the vulnerable person that is praying. Skinwalkers usually seek host bodies at night. Vision Seekers go to great lengths to avoid being overtaken by evil spirits.
Ancestor Song, the next track, highlights the importance of respect for deceased relatives. In most Indigenous tribal beliefs they have great influence over living tribal members. Many tribes believe that their deceased relatives are always present, living in the clouds floating overhead.
In the ancient ways, those living dance in complex dress complete with masks that cover the dancers' faces. They believe that the ancestor's spirits enter the masked dancers. They bring the gift of rain in the parched desert climate that would be uninhabitable without rain if the ancestors did not come to enter the body of their living descendants. They believe that if you lift the mask of the dancer, no one is visible, including the dancer who put on the mask.
Hopi tribal members believe that our planet has entered the fourth and final time in its existence. They believe that the world will again be destroyed as it was three previous times. They believe that the only way to prevent this eventuality is to live in peace with each other and the animals.
Sandy Kewanbaptewa, a traditional believer offers this prayer to the ancient one: "And now grandfather, I ask you to bless the white man. He needs your wisdom, your guidance. You see for so long he has tried to destroy our people, and only feels comfortable when given power. Bless them, and show them the peace we understand. Teach them humility. For I fear they will destroy themselves and their children as they have done so with Mother Earth. I plead, I cry, after all, they are our brothers."
The final selection on this beautiful album is entitled Twisted Hair. The song is written by Jim Wilson and Dave Carson. The song is written as a prayer to the Creator, and asks for the ways of love of Mother Earth return. The chorus that you hear in the background of this song is the sound of crickets slowed down. The beautiful voice is by Lakota opera singer Bonnie Jo Hunt. At this album's end, an album of prayer and benevolence, this Crowfoot prayer is quoted: " It is the flash of a firefly in the night-It is the little shadow which runs across the grass and loses itself in the sunset..."
This article is copyright 2017 by Peter Reum excluding quoted material from Capitol Records copyright 1992 by Capitol Records
All rights reserved by Capitol Records and Peter Reum
This article is respectfully dedicated to my adopted sister Susan whose struggle with living in two worlds destroyed her.
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