(Saskatchewan Indian Cultural) Centre wants to curb the use of feathers in regalia.

By Pamela Sexsmith Green

Windspeaker Contributor

SASKATOON 

In these fast paced times of post-modern pan-Indian cultural shock (maybe shlock would be a better word) the Saskatchewan Indian Cultural Centre has taken a strong stance.

"The SICC is not here to promote competition powwow. We are here to promote and preserve traditional culture," said Darlene Speidel, director of Cultural Resource Development at the centre in Saskatoon.

"A traditional powwow is supposed to be a gift to the people, the ultimate show of hospitality in which you invite your friends to entertain, feed and honor them. Our Traditional Council of Elders has said, over and over again, that much of what you see in today's contemporary powwow is not culturally appropriate, that many of these dancers don't know anything about their own culture."

The story of how the original grass or scalp dancers of the Plains, who traditionally just wore breechcloths and moccasins with braids of sweetgrass tucked in their belts, ended up strutting their stuff in contemporary powwow, wearing what Speidel called "B-52 Bomber satellite-type bustles," is an interesting trail to follow.

"Feathers used to be earned, a way for a warrior to publicize their deeds, and ceremonial bustles were used only for ceremonial purposes," said Speidel.

But it all got way out of hand during the heady days of Buffalo Bill and the Wild West Show when the romantic myth of the North American Indian became an essential ingredient in the folklore of the Plains.

In order to meet the demands of early 19th century showbiz, traditional regalia had to become bigger, more colorful and a whole lot gaudier.

"The original bustles from the Omaha Grass Dance Societies were definitely not eagle bustles in the sense of bustles today. They were called crow belts and were covered with many small feathers from different birds of prey. They were supposed to be symbolic of a battlefield and the scavengers that flocked to devour the dead after the battle was over," said Speidel.

The bigger bustles, created solely from the larger primary eagle feathers for the Wild West shows, ended up being carried over to contemporary powwow, as did the colorful long underwear worn by the grass dancers to keep themselves warm during bad weather and the rigors of life on the road.

Ceremonies and dancing were driven underground in Canada and the United States and it wasn't until the bans were lifted in 1934 in the States and 1951 in Canada, due to the revision of the Indian Act, that the evolution of modern powwow began to gain momentum.

The Second World War also had an impact on the birth of contemporary powwow with the rebirth of the modern warrior. Soldiers leaving and soldiers returning gave reasons for a whole lot of celebrating in many Native communities, said Speidel.

It was during the early fifties that local fairs and sports days began to include powwows, with dancing as part of their activities. The first competition powwow was held in Standing Buffalo Reserve in southern Saskatchewan in 1952, the second at the Piapot Reserve, Sask., and the third in North Battleford, Sask.

Other communities and reserves soon followed and the whole concept of a culturally homogenized powwow took hold during the fifties, sixties and seventies, with generic dance forms and outfits gradually kicking in and eventually jelling into the all out whoop-up and extravaganza we see today.

In the beginning, judging in competition powwow was done by experienced and retired dancers and based on traditional values and skill. First place was given to the dancer who exhibited the highest level of skill and form, with second place usually awarded to someone who had traveled a long distance. Third place went to a dancer who was just starting out in order to support and encourage budding talent.

The problem with today's powwow judging, explained Speidel, is that almost anybody can be picked to be a judge.

Excellent form, knowledge and tradition have given way to glamour.

The pressures of dance competition have driven many dancers to extremes, with some wearing more eagle feathers in their outfits than would be found on the bird itself.

The Traditional Council of Elders at the Saskatchewan Indian Cultural Centre, whose mandate it is to help preserve the ancient ways of the Cree, Saulteaux, Dene, Dakota, Nakota and Lakota Nations in Saskatchewan, are adamant that overuse and misuse of sacred feathers and body parts must be curbed, said Speidel.

And perhaps the only way to get back on track in this modern day and age is to listen to our Elders.