“powwow”的意思、由来-百科全书

powwow

Native American celebration

a celebration of American Indian culture in which people from diverse indigenous nations gather for the purpose of dancing (Native American dance), singing, and honouring the traditions of their ancestors. The term powwow, which derives from a curing ritual, originated in one of the Algonquian nations of the Northeast Indians (Northeast Indian). During the early 1800s, traveling medicine shows selling cure-all tonics used “powwow” to describe their wares. These vendors often employed local Indians to dance for the entertainment of potential customers, who soon applied the term to the exhibition dancing as well as to the patent medicines. The name took hold, and Indians themselves added to it their nomenclature to describe dancing for an audience in an exhibition.

Today powwows take place over a period of one to four days and often draw dancers, singers, artists, and traders from hundreds of miles away. Spectators (including non-Indians) are welcome to attend, as participants seek to share the positive aspects of their culture with outsiders. Modern powwows can be grouped into two broad divisions: “competition” (or “contest”) events and those referred to as “traditional.” Competition events offer substantial prize money in various standardized dance and music categories. In contrast, traditional powwows offer small amounts of “day money” to all or some portion of the participants (such as the first 10, 20, or 30 dancers to register) and do not have competitive dancing or singing. Both divisions share the same order of events and styles of singing and dancing.

Gatherings similar to powwows existed in most native communities long before the advent of European settlement. Dances were usually associated with one of four occasions: religious ceremonies, homecoming celebrations honouring successful war parties, celebrations of new or reaffirmed alliances, and events sponsored by various warrior societies or extended family groups. One major difference between old-time events and modern powwows is that the latter are intertribal and inclusive, meaning that they are open to all who wish to attend, whereas pre-contact events allowed only tribal members and those from friendly neighbouring tribes on the dance grounds.

The songs and dances performed at 21st-century powwows derive primarily from those practiced by the warrior societies of the Plains Indians (Plains Indian), with the greatest influences coming from the Heluska Warrior Society styles common to the Omaha and Ponca peoples. After the reservation period began (c. 1880), Indian dancers and singers started traveling with Wild West shows (Wild West show) such as the one directed by William F. (“Buffalo Bill”) Cody (Cody, William F.). They soon added an element of crowd-pleasing showmanship, known as “fancying it up.” They also developed an opening parade into the arena, made in precise order. This practice is the direct ancestor of the contemporary powwow's Grand Entry, during which groups of dancers follow a colour guard into the arena in a predetermined sequence. The Grand Entry not only marks the beginning of the event but also motivates dancers to arrive in a timely manner, because competition points are deducted from those who miss it.

Between the beginning of the reservation era and the end of World War I, the warrior society dances that formed the core of later powwow styles nearly disappeared owing to U.S. and Canadian governmental suppression of traditional Native cultural practices (see Native American: Native American history (Native American)). After armistice, however, celebrations honouring the return of native veterans fostered the revival of homecoming dances. A new sense of friendship with other American Indian peoples also emerged as the war ended: tribal identity melded to a certain extent with a pan-Indian sense of kinship, and interaction between different tribes increased. In Oklahoma, for instance, where numerous but disparate tribes had been crowded closely together as a result of 19th-century federal removal policies, communities began to invite members of neighbouring tribes to their dances—often called picnics or fairs—as a matter of course. This practice spread to the reservations on the northern Plains as automobiles became common.

Following World War II, the U.S. Bureau of Indian Affairs initiated a program that relocated thousands of Plains Indians into large urban areas, most notably Denver; Minneapolis, Minn.; the San Francisco Bay area; and southern California. This migration sparked a second wave of cultural diffusion and intertribal collaboration, as Indians whose tribal heritage was not from the Plains peoples began to adopt the music and dance styles of that region as their own. The ensuing urbanization of powwow culture encouraged sponsors to hold the largest events in metropolitan (and, later, casino) settings. It also resulted in an intensification of competition and in the formation of a “powwow circuit” with dancers and musicians traveling to competitive events that are scheduled a year or more in advance.

Some aspects of the powwow circuit differ on the basis of location. The “northern style,” originating from the northern Great Plains and the Great Lakes regions, now takes place throughout the northern tier of U.S. states and in Canada. Styles of music and dance that are considered northern include those from the Lakota, Dakota, and other bands of the Sioux nation and from other northern Plains peoples such as the Blackfoot and Ojibwa. “Southern style” powwows have their genesis in the central and western areas of Oklahoma and in the cultures of the southern Plains tribes, including the Kiowa, Comanche, Pawnee, and Ponca peoples. Northern and southern powwow formats are similar in many ways, differing mostly in the presence or absence of specific forms of dance. For instance, the southern forms include men's southern straight and women's southern cloth dances, while the northern styles include men's and women's traditional dances. Other categories, such as women's jingle dress and men's grass dances, began in specific tribal communities but have spread throughout the powwow circuit and are no longer associated with a particular geographic area. Men's and women's fancy dances, with origins in the Wild West shows, are also widely popular.

As with powwow dancing, powwow singing (Native American music) is categorized by its practitioners as being either northern or southern in style. The northern style area includes singers from the central and northern Plains, Canada, and the Great Lakes regions, while southern singing is synonymous with that done by the Oklahoma nations. In both traditions, singing is performed by a group of individuals who are arrayed in a circle around a large drum. Musically, all powwow songs share the same basic formal structure, including a steady drumbeat, but southern songs have a lower vocal range and three accented drumbeats between repetitions of each verse. Northern singing is pitched higher, and songs are characterized by drum accent patterns known as “Honour Beats” that occur in the interior of each song rather than between verses. In the southern tradition, drumming is an exclusively male activity: men play the drum while singing, and women sing while standing in a circle around the men. In the northern tradition, however, women may also “sit at the drum” occasionally, depending on the traditional practices of their community. See also Native American dance; Native American music.

Tara Browner

Additional Reading

A variety of scholarship on powwows is available. Tara Browner, Heartbeat of the People: Music and Dance of the Northern Pow-wow (2002), discusses the history of northern style powwows and compares and contrasts the song and dance practices of Ojibwa and Lakota events. Clyde Ellis, Luke Eric Lassiter, and Gary H. Dunham, Powwow (2005), is a broadly based collection that includes essays on powwow history, tradition, and diffusion. Charlotte Heth (ed.), Native American Dance: Ceremonies and Social Traditions (1992), has a number of essays on powwows and warrior society dances as well as excellent photographs. Severt Young Bear and R.D. Theisz, Standing in the Light: A Lakota Way of Seeing (1994), tells the life story of Severt Young Bear, the renowned singer from the Pine Ridge Reservation in South Dakota.

词条	powwow
释义	powwow Native American celebration a celebration of American Indian culture in which people from diverse indigenous nations gather for the purpose of dancing (Native American dance), singing, and honouring the traditions of their ancestors. The term powwow, which derives from a curing ritual, originated in one of the Algonquian nations of the Northeast Indians (Northeast Indian). During the early 1800s, traveling medicine shows selling cure-all tonics used “powwow” to describe their wares. These vendors often employed local Indians to dance for the entertainment of potential customers, who soon applied the term to the exhibition dancing as well as to the patent medicines. The name took hold, and Indians themselves added to it their nomenclature to describe dancing for an audience in an exhibition. Today powwows take place over a period of one to four days and often draw dancers, singers, artists, and traders from hundreds of miles away. Spectators (including non-Indians) are welcome to attend, as participants seek to share the positive aspects of their culture with outsiders. Modern powwows can be grouped into two broad divisions: “competition” (or “contest”) events and those referred to as “traditional.” Competition events offer substantial prize money in various standardized dance and music categories. In contrast, traditional powwows offer small amounts of “day money” to all or some portion of the participants (such as the first 10, 20, or 30 dancers to register) and do not have competitive dancing or singing. Both divisions share the same order of events and styles of singing and dancing. Gatherings similar to powwows existed in most native communities long before the advent of European settlement. Dances were usually associated with one of four occasions: religious ceremonies, homecoming celebrations honouring successful war parties, celebrations of new or reaffirmed alliances, and events sponsored by various warrior societies or extended family groups. One major difference between old-time events and modern powwows is that the latter are intertribal and inclusive, meaning that they are open to all who wish to attend, whereas pre-contact events allowed only tribal members and those from friendly neighbouring tribes on the dance grounds. The songs and dances performed at 21st-century powwows derive primarily from those practiced by the warrior societies of the Plains Indians (Plains Indian), with the greatest influences coming from the Heluska Warrior Society styles common to the Omaha and Ponca peoples. After the reservation period began (c. 1880), Indian dancers and singers started traveling with Wild West shows (Wild West show) such as the one directed by William F. (“Buffalo Bill”) Cody (Cody, William F.). They soon added an element of crowd-pleasing showmanship, known as “fancying it up.” They also developed an opening parade into the arena, made in precise order. This practice is the direct ancestor of the contemporary powwow's Grand Entry, during which groups of dancers follow a colour guard into the arena in a predetermined sequence. The Grand Entry not only marks the beginning of the event but also motivates dancers to arrive in a timely manner, because competition points are deducted from those who miss it. Between the beginning of the reservation era and the end of World War I, the warrior society dances that formed the core of later powwow styles nearly disappeared owing to U.S. and Canadian governmental suppression of traditional Native cultural practices (see Native American: Native American history (Native American)). After armistice, however, celebrations honouring the return of native veterans fostered the revival of homecoming dances. A new sense of friendship with other American Indian peoples also emerged as the war ended: tribal identity melded to a certain extent with a pan-Indian sense of kinship, and interaction between different tribes increased. In Oklahoma, for instance, where numerous but disparate tribes had been crowded closely together as a result of 19th-century federal removal policies, communities began to invite members of neighbouring tribes to their dances—often called picnics or fairs—as a matter of course. This practice spread to the reservations on the northern Plains as automobiles became common. Following World War II, the U.S. Bureau of Indian Affairs initiated a program that relocated thousands of Plains Indians into large urban areas, most notably Denver; Minneapolis, Minn.; the San Francisco Bay area; and southern California. This migration sparked a second wave of cultural diffusion and intertribal collaboration, as Indians whose tribal heritage was not from the Plains peoples began to adopt the music and dance styles of that region as their own. The ensuing urbanization of powwow culture encouraged sponsors to hold the largest events in metropolitan (and, later, casino) settings. It also resulted in an intensification of competition and in the formation of a “powwow circuit” with dancers and musicians traveling to competitive events that are scheduled a year or more in advance. Some aspects of the powwow circuit differ on the basis of location. The “northern style,” originating from the northern Great Plains and the Great Lakes regions, now takes place throughout the northern tier of U.S. states and in Canada. Styles of music and dance that are considered northern include those from the Lakota, Dakota, and other bands of the Sioux nation and from other northern Plains peoples such as the Blackfoot and Ojibwa. “Southern style” powwows have their genesis in the central and western areas of Oklahoma and in the cultures of the southern Plains tribes, including the Kiowa, Comanche, Pawnee, and Ponca peoples. Northern and southern powwow formats are similar in many ways, differing mostly in the presence or absence of specific forms of dance. For instance, the southern forms include men's southern straight and women's southern cloth dances, while the northern styles include men's and women's traditional dances. Other categories, such as women's jingle dress and men's grass dances, began in specific tribal communities but have spread throughout the powwow circuit and are no longer associated with a particular geographic area. Men's and women's fancy dances, with origins in the Wild West shows, are also widely popular. As with powwow dancing, powwow singing (Native American music) is categorized by its practitioners as being either northern or southern in style. The northern style area includes singers from the central and northern Plains, Canada, and the Great Lakes regions, while southern singing is synonymous with that done by the Oklahoma nations. In both traditions, singing is performed by a group of individuals who are arrayed in a circle around a large drum. Musically, all powwow songs share the same basic formal structure, including a steady drumbeat, but southern songs have a lower vocal range and three accented drumbeats between repetitions of each verse. Northern singing is pitched higher, and songs are characterized by drum accent patterns known as “Honour Beats” that occur in the interior of each song rather than between verses. In the southern tradition, drumming is an exclusively male activity: men play the drum while singing, and women sing while standing in a circle around the men. In the northern tradition, however, women may also “sit at the drum” occasionally, depending on the traditional practices of their community. See also Native American dance; Native American music. Tara Browner Additional Reading A variety of scholarship on powwows is available. Tara Browner, Heartbeat of the People: Music and Dance of the Northern Pow-wow (2002), discusses the history of northern style powwows and compares and contrasts the song and dance practices of Ojibwa and Lakota events. Clyde Ellis, Luke Eric Lassiter, and Gary H. Dunham, Powwow (2005), is a broadly based collection that includes essays on powwow history, tradition, and diffusion. Charlotte Heth (ed.), Native American Dance: Ceremonies and Social Traditions (1992), has a number of essays on powwows and warrior society dances as well as excellent photographs. Severt Young Bear and R.D. Theisz, Standing in the Light: A Lakota Way of Seeing (1994), tells the life story of Severt Young Bear, the renowned singer from the Pine Ridge Reservation in South Dakota.
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