Tribal Dance Research Articles

Crafting an Indigenous Nation: Kiowa Expressive Culture in the Progressive Era by Jenny Tone-Pah-Hote

Reviewed by: Crafting an Indigenous Nation: Kiowa Expressive Culture in the Progressive Era by Jenny Tone-Pah-Hote Benjamin R. Kracht Jenny Tone-Pah-Hote, Crafting an Indigenous Nation: Kiowa Expressive Culture in the Progressive Era. Chapel Hill: University of North Carolina Press, 2018. 142 pp. $29.95 (paper). After 1875, Kiowas in southwestern Oklahoma faced rapid cultural change precipitated by the collapse of the Plains horse and buffalo culture; the influx of Indian Office personnel and missionaries who imposed assimilationist policies; the nefarious Jerome Commission and forced allotment; and attacks on dancing, ceremonies, and Native healers. In Crafting an Indigenous Nation, Jenny Tone-Pah-Hote examines her people's expressive culture—art, music, dance, and performance—to demonstrate how Kiowas navigated and shaped individual, intratribal, and intertribal identities during the Progressive Era and the early twentieth century. In the intertribal arena of fairs, powwows, and expositions, Kiowas formed a distinctive tribal identity observable in war dancing, beadwork, "Indian flat style" paintings, silverwork, and other mediums. Utilizing archival materials, anthropological field notes, and stories about her grandparents, Tone-Pah-Hote describes Kiowa survival and assertion of tribal identity during this challenging era. Images of people and art appropriately frame the introduction and subsequent chapters, setting the tone for discussing Kiowa expressive culture. For instance, chapter one begins with an image that depicts a man and woman on horseback leading a pack horse; both carry weapons because women often accompanied men on war expeditions (16). The presence of Western-style saddles, German silver bridles, trade cloth, and guns elucidates the melding of Western and traditional accoutrements in mid-nineteenth century Plains societies. Kiowa art production was gendered in that men painted scenes of warfare, a marker of male rank and status, whereas women tanned hides and painted parfleche bags. This particular ledger drawing was made between 1875 and 1877 when twenty-six Kiowa men—some were captives—served prison terms in Fort Marion, Florida, at the conclusion of the Southern Plains wars that ended the horse and buffalo [End Page 193] culture. While imprisoned, the men performed war dances and sold art to tourists visiting St. Augustine, in part because they were "objects of display and assimilation" (17) but also to make money. Upon their release in 1878, most of the prisoners returned to a rapidly changing homeland where the formerly nomadic Kiowas were settling in communities. Within two decades, individuals were selecting 160-acre allotments according to provisions of the 1892 Jerome Agreement that opened their reservation for homesteading. Bison hunting, raiding, and trading were replaced by a mixed economy of subsistence farming, foraging, leasing, and wage labor. Despite Indian Office harassment and threats of jail sentences for those participating in tribal dances and festivities, some men were drawn to Wild West shows, fairs, and expositions where they could make money by war dancing. By the 1920s, older war dances transformed into newer forms, including the faster-paced fancy dancer style performed by men donning feathered dance bustles, porcupine hair roaches, beaded clothing and moccasins, and bells attached to their legs that sounded with their dance moves. Perhaps the most popular fancy dancers in the emergent intertribal powwow arena were the male members of the Kiowa Six—Stephen Mopope, Monroe Tsatoke, Jack Hokeah, Spencer Asah, and James Auchiah—noted artists who, along with Lois Smoky, studied art at the University of Oklahoma, where they perfected "Indian flat style" painting. Theirs was an "autobiographical style learned from their relatives" (64), although instead of combat scenes, they painted war dancers at powwows and worshipers at peyote, or tipi, meetings. Peyotism, along with Christianity, arrived in Kiowa country towards the end of the nineteenth century and helped fill the void left by the death of the tribal Sun Dance. After its official charter in 1918 as the Native American Church, the peyote religion spread throughout Oklahoma and beyond. Adherents of the new religion attended all-night tipi meetings, ingested peyote buttons, and sang fast-paced songs accompanied by a water drum and rattle; their songs and prayers traveled skyward, assisted by Water Bird, the intermediary between humans and spirits. By the 1920s, peyote attire and jewelry, including Water Bird and Morning Star motifs...

Healing Pain through Dance: A Critical Reading of Adhikari’s “Khuchching!”

This paper makes an attempt to analyze the healing pain through dance in Dinesh Adhikari’s poem “Khuchching” by applying cultural trauma perspective. The poem’s idea is similar to New Zealand’s tribal dance Haka. The poem shows a poor and insurgency affected persona living with traumatic experience and fleeing away from his grief and finally takes refuge to dance which helps him relieve with pains and suffering. Similarly, Haka, a traditional dance of a tribal group – Maori, is performed to pacify the pain and helps them strengthen themselves to face more challenges and strife courageously. In doing so, I have used the critical insight of Caruth as well as cultural ingredients of Haka dance as theoretical parameters to analyze the primary text. Here, I examine the poem linking it with the aim of performing the tribal dance Haka which would, subsequently, help one get relief from personal trauma to the conflict generated consequences in the lives of affected people and their socio-political factors associated with contemporary Nepali society. Discussing the expected findings, this article centers on the common people’s aspirations and embedded peace in the society.

Tourism Development Plan for District of Bastar

Bastar is a tribal region in Chhattisgarh state of India. The region is blessed with exceptional scenic beauty for nature lovers, the region can be well explored with waterfall, forests, tribal dance, music, wildlife, ancient temple. State capital is 264 km from this region. It has lot to offer to its visitors that lie in and around lush green of district headquarter Jagdalpur, which is significant eco-friendly destination in the region.

Dance form of Karagattam - The Regional Folk Dance in Tamil Nadu

India is a land of varied cultures and traditions, diversities in all spheres which make the Indian culture quite unique. Indian folk and tribal dances are the product of different socio-economic set up and traditions evolved over ages.. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised.
 In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. Folk dances are performed for every possible occasion – to celebrate the arrival of season’s birth of a child, a wedding and festivals which are plenty with minimum of steps or movements. Indian folk dances are full of energy vitality. Some dances are performed separately by men and women while in some performances, men and women dance together.

Senhora do Rosário, esta banda é sua

O presente ensaio foi produzido durante o ciclo ritual ocorrido por ocasião da 129ª Festa de Nossa Senhora do Rosário em Airões, Zona da Mata Mineira, durante uma incursão etnográfica que tencionou, a partir de referenciais da Antropologia Visual, explorar as manifestações de performance produzidas pela Banda de Congo José Lúcio Rocha, oriunda de uma comunidade quilombola contígua ao distrito onde ocorre a festa. Elegemos enquanto tema das imagens que se seguem, um instante ritual chamado de Corte que, segundo os nativos, é “a hora mais pesada do Congo”. O Corte é a dramatização dos encontros entre barões escravocratas, quando se reuniam para negociar seus escravos. Aqui se exibe o corpo do homem Congo, um soldado juramentado do exército da Virgem do Rosário, que reunido em batalhão, corta as ruas do lugarejo mixando a oração cristã católica à corporalidade da dança tribal, sempre tendo como vozes de fundo os temas da memória do cativeiro e da batalha espiritual.

Religious dances and tourism: perceptions of the “tribal” as the repository of the traditional in Goa, India

What changes occur in the identity of a group considered tribal in India through the performance of their dances? What is the influence of tourism on their religious cults? How are they perceived by other Indians? To answer these questions, first I analyze how the Goan government sought to institutionalize these tribal dances. Second, I examine the gains in the group’s political, economic and cultural capital through this transition to the tourism industry. The article is based on long ethnographic research in Goa and the topic of folk musical heritage is approached from the perspective of anthropology. Its goal is to shed light on the relatively unknown musical heritage of the Catholic Gawda, also known as Kunnbi. It proposes that through tourism the Gawda, while still tribal, have become appreciated as a repository of traditional Goa, rather than pejoratively considered primitive (associated with backwardness) as they were regarded before, for keeping their village lifestyle. However, once the Catholic Gawda gained visibility vis-a-vis tourists and Goans themselves, thus becoming modern and global, they became paradoxically regarded as the continuers of ancestral practices. There is therefore a process of “invention of tradition,” not so much as in the sense of creating what is revealed to tourists (although there is a standardization for the public), but rather in the interpretation of the Gawda who now represent an authentic Goan identity in their dancing.

Capturing the Aeta Tribal Dance “PASALAMAT”: A Creative Dance Piece

This paper is an initial effort of the researcher to prevent the nearly extinctionnot only of the Aeta people but also their identity being the first Filipinos. Beingthe first, it is so ironic to see them helpless to fend for themselves from the“prying eyes”. To see them adapting the modern world might be the start ofthe loss of the “beginning”. Indigenous dances constitute some kind of culturalgenetic code that defines identity of a group of people. The study assessed the pureand unique characteristics of the dance entitled “PASALAMAT”. The veracity ofthe steps created by the researcher as reflected in the dance was reviewed andpresented to the respondents in the dance seminar-workshop held on September2013 in Pampanga, Philippines. The respondents of the study consisted of 91attendees. These attendees are PE teachers, MAPEH major students, danceteachers, choreographers and performers. The background/context, movements/steps, particular to the dance, dance properties and movement of the dance were reviewed and assessed base on the existing guidelines and other parameters approved by the dance expert in the country particularly the PhilippineFolkdance Society and National Commission for Culture and the Arts. Based onthe findings, the background/context/movements/steps, particular to the danceand dance properties demonstrate statistical significance. The study recommendspromotion and preservation on the dance.Keywords: Sociology, indigenous dance, Aeta tribal dance, creative dance, Cultural,Information and Dissemination, Promotion and Prevention, Pampanga,descriptive design, Philippines

The “Bison Horn” Muria: Making it “More Tribal” for a Folk Dance Competition in Bastar, Chhattisgarh

This article examines the tribal stereotypes used in Bastar (Chhattisgarh) by some local institutions in their different representations and mise-en-scene of the ādivāsīs, the local authorities organizing tribal dance competitions, some local NGOs setting up workshops and selling tribal handicrafts, or the new government planning its tourism policy with perfectly arranged tribal tours. More specifically, it analyzes the aesthetic transformations of a Gond ritual into a dance competition promoted by the government. While the manipulation of symbols hides political strategies from some influential groups to incorporate or dissolve tribal people into the main (Hindu) society and aspire to a shared indigeneity, ādivāsīs also build their own image by appropriating the stereotypes projected on them through their musical performances. However , they are torn between Hindu nationalists and Maoists and caught in the crossfire between the security forces and the guerrillas, overwhelmed by the huge industrial issues behind this gory crisis. D espite their central position, the state of Chhattisgarh and its southern districts of Bastar 1 and Dantewada are little known to Indian people except for their image of a backward tribal area highly affected by Naxalism (that is, the Mao-ist guerrillas). These districts are indeed inhabited by a majority of tribal people (st, Scheduled Tribes) and local castes (sc, Scheduled Castes) that are considered indigenous. 2

Using process drama in museum theatre educational projects to reconstruct postcolonial cultural identities in Hong Kong, Singapore and Taiwan

Museums have been employing theatre activities in their educational programmes to outreach youngsters for more than three decades all over the world since the late 1980s; however, it is still quite a new experience for eastern and south-eastern Asian countries. In the past 3 years, Hong Kong, Singapore and Taiwan started to use different forms of museum theatre in educational programmes to represent their multiple histories and cultural identities through various projects and showcases. Among these praxes, process drama have been most widely employed by teacher–facilitators for youngsters to reconstruct their own interpretations of historical events and narratives through chosen and rediscovered historical fragments, often neglected and even forgotten in the past. I argue that these process drama projects help the youngsters to reconstruct their own ever-changing cultural identities of these places which are under enormous change day by day in their current postcolonial and postmodern conditions. I also try to demonstrate how these praxes cross geographical, historical, ethnic and cultural as well as community borders to translate historical narratives buried in their heritage sites, ethnic community histories or aboriginal intangible cultural heritage such as tribal dances, songs and rituals into contemporary dramatic enquiry activities and performances. Why are they interested in these praxes almost at the same time lately? What are their goals in these projects? What cultural and social meanings do these praxes carry and sustain? What are the aesthetic strategies they use in these programmes and why do they choose them and how well do they work to achieve their goals? I would like to apply theories of museum theatre, process drama as well as postmodern aesthetics and educational theories and theories of post-colonialism to re-examine these praxes in their different cultural contexts to explore the above questions.

American Social History through Dance: A New Course at Vanderbilt University

In American Studies 100W at Vanderbilt University, students study American history -- not through battles or infamous uprisings, presidents or political speeches -- but through the dances danced on American soil and those who danced them, as well as those who opposed them. From Native American tribal dances, replete with spiritual significance, to the muscular in-your-face exuberance of the locking and popping of today’s hip hop street performers in South Central LA, dance can explain a great deal about America.

Dreams of Peach Blossoms: Cultural Memory in a Nepali Play

Dreams of Peach Blossoms takes place in the mind of a poet who travels across time to understand his ancient cultural heritage before its ideas and icons are lost forever. Playwright Abhi Subedi juxtaposes indigenous elements with foreign influences and mixes historical values with contemporary exploitation as he exhorts his audience to preserve what is precious in their culture.

Dancing our way out of class through funk, techno or rave

What do James Brown, Henri Bergson, Techno and Rave have in common? Rhythm, the body, intuition and freedom. I cannot quite imagine Henri Bergson moving his frail body to James Brown's beat, but his philosophy of elan vital addresses rhythm, the body, intuition and freedom in the constant awareness of movement which is at the core of his work. How do rhythm, dance and trance succeed in breaking down the barriers of identity, thus facilitating the elimination of social, cultural and gender boundaries? Funk and its children Techno and Rave give us a music that can be felt as much as heard, and whose percussive and repetitive nature recalls the frenetic drums of African tribal dances. Whether it is within the kitsch red leather confines of a juke joint, or the huge warehouses where Techno and Rave dance experiences happen, these dance floors have become a secular ritualistic locus of emancipation and liberation from society's ever growing stranglehold.

The Hollywood Indian in Little Big Man : A Revisionist View

70 Kasdan - Tavernetti / Little Big Man The Hollywood Indian in Little Big Man: ? Revisionist View Margo Kasdan and Susan Tavernetti In Little Big Man Arthur Penn directed a film that inverts the mythologies of American frontier history usually presented in the western genre, and, in particular, the story of the westward expansion. The film combines established generic conventions—the post-Civil War period, Great Plains setting, conflict between whites and Indians—with a reconsideration of western history, a revisionist treatment of legendary figures of the time, of the western hero, and of Native Americans in a comic and ironic tone. This combination makes the film distinctive (while at the same time sows the seeds for such contemporary westerns as Dances With Wolves) . The fusion of elements in the film, including its representation of Native Americans—respectful yet satirical, convincing yet not entirely authentic— is the subject of this paper. Through the works of writers, artists, and photographers, Americans have been taught two contradictory myths about Indians. One, deriving from the Puritan fear of the uncontrolled wilderness and its inhabitants, depicts them as bloodthirsty savages. The other, which flourished in the writings of the eighteenth-century European Romantics, presents Native Americans as noble savages. In this conception, the unspoiled wilderness is a spiritual place uncorrupted by civilization; therefore, its original inhabitants are also pure and at one with the spiritual side of nature. The idealistic view was perpetuated in nineteenth-century America in such works as Henry Wadsworth Longfellow's celebrated narrative poem, The Song of Hiawatha (1855). Both conceptions found a place in James Fenimore Cooper's popular novels five of which, including The Last of the Mohicans, were gathered in The Leather Stocking Tales, published between 1823 and 1841: Indians were wild, uncivilized, ferocious, but also brave, dignified, proud, and wise teachers. The visual arts of the period transformed these literary stereotypes into powerful images that helped create the basic iconography of the Hollywood western film. Concentrating on dramatic portrayals of buffalo hunts, exotic tribal dances and ceremonies, as well as on heroic portraiture of the natives, George Catlin painted romanticized scenes of Indians within landscapes reminiscent of the garden of Eden, yet in vivid, nearly "Technicolor" hues. Upon his arrival in the new world, Swiss watercolorist Karl Bodmer drafted striking panoramic views of the Margo Kasdan Ts Professor Tn the Department of Cinema it San Francisco State University. Susan Tavernetti is Professor of Film in the Department of Film/TV at" De Anza College, Cupertino, California. They collaborated on the second edition of The Critical Eye: An Introduction to Looking at Movies published by Kendall/Hunt Publishing Company. Film & History, Vol. XXIII, No's. 1-4, 199371 Little Big Man (Dustin Hoffman) and Chief Old Lodge Skins (Chief Dan George) are here framed together, identically attired, a sign of their kinship. Jack Crabb has become a full-fledged member of the Cheyenne and, as their spokesman, will finally tell the truth about the tribes' s culture, experiences and ordeals. Photo courtesy of the Publicity Department/Ciname Center Films. 72 Kasdan - Tavernetti / Little Big Man frontier and remarkable scenes of wild natives in the fierce Buffalo and Scalp Dances which mirrored his preconceptions of a savage America. These artists' representations of the Plains Indians were widely distributed through lithographs and aquatints. These works established the "facts" of Indians on horseback and wearing primitive costumes in ceremonies and molded that conception of them in the popular imagination. In contrast to this fabrication of an untamed yet noble people, the artists Frederic Remington and Charles M. Russell introduced the "cowboy-as-epic-hero," a character-type whose role was to repress the threatening Indians and win the west. It was not until the early twentieth century when Edward Curtis posed Native Americans before his camera—recording a romanticized vision of the "noble" Indian and a vanishing way of life—that their cause was championed once again.1 Shaped by the marketplace, the popular media of the day— from paintings to photographs, from Buffalo Bill's Wild West Show to dime novels and illustrated magazines—reinforced this dual conception of Indians, depicting Native Americans both as scantily-dressed men with feathers in...

The Grand Cañao: Ethnic and Ritual Dilemmas in an Upland Philippine Tourist Festival

In 1887, in the Zoological Gardens in Madrid, an Exposicion de las Islas Filipinas was held to showcase the peoples and material culture of Spain's only major Asian colony. One of the most popular attractions was the Igorot Village, where eight highland Filipinos, or Igorotes, from Luzon's Cordillera occupied replicas of their indigenous houses, sang and ritually danced in their g-strings around sacrificed pigs, much to the amusement and wonder of the people of Madrid (SCOTT 1975, 12-13). In 1904, the Americans included a similar Igorot village in the St. Louis Exhibition, which was held to celebrate the westward expansion of the United States 100 years after the Louisiana Purchase (FRY 1983, 39-40). Four years later, the American colonial government banned the public exhibition of Philippine tribal peoples without legislative consent (SCOTT 1975, 2). While the public display of exotic tribal dances, costumes and ritual sacrifices was deemed unseemly by the colonial government in 1908, seventy years later (in 1978) a strikingly similar exhibition was sponsored in the City of Baguio by the Ministry of Tourism and the urban commercial elite. As in the previous exhibitions during colonial times, representatives of the various highland Luzon ethno-linguistic groups were brought from their local mountain communities to present their traditional rituals and dances in front of thousands of foreign and lowland Filipino tourists. Early world exhibitions of tribal peoples amidst exotic tropical plants and animals expressed colonial dominance over subordinated peoples as much as it did Western fascination with their unique lifestyles. In the early years of American pacification efforts in the Cordillera, it

Tribal Dances of West Africa

Tribal Dances of West Africa

Field Research in African Dance: Opportunities and Utilities

In-depth analyses of the sociocultural contexts of dance are within the professional sphere of social and behavioral scientists, especially anthropologists and sociologists. Unfortunately, compared with such foci as music, dance has been woefully neglected by them. Since published articles on The Status of Dance Studies2 and the African Research Committee Conference on the Arts: Report of the Dance Group3 treat some of the reasons for this neglect, I will say no more about it now. Rather I will direct my attention to the utility of dance research, drawing for illustration upon my current area of specialization: Africa. Many kinds of contextual studies can and should be done, the selection depending upon the orientations and abilities of the investigators as well as on the previous theoretical and empirical research relevant to a people's dance. For example, dance can be viewed as a medium of education-a complete audiovisual tool involving the sight of moving performers in time and space, the sounds of physical movements, the smell of physical exertion, the touch of feet caressing or stamping the earth, and the feel of kinesthetic activity. Dance can be approached as a means of promoting social solidarity, as a form of prayer or act of communion, as a symbol of respect, as an expression of emotion, or as a safety valve for psychological catharsis. Dance can also be viewed as a microcosm or mirror of society, or as one of the means used to fulfill any of a multitude of society's needs. To illustrate research possibilities let me briefly describe some of the work which has been done in Africa. These descriptions should be viewed as representative of research potentialities in most cultures of the world. J. Clyde Mitchell's study of the kalela dance (1956), an organized weekly recreational feature of urban life performed by the Bisa people of Zambia, brilliantly illustrates how the elements of a dance provide insights into the society of which it is a part, and how knowledge of the larger society's dynamics helps understanding of the dance itself. Mitchell was initially struck by the fact that the kalela was a tribal dance in the sense that the performers were mainly Bisa tribesmen and the verbal accompaniment included praise of the Bisa and ribald taunts directed towards other groups. About themselves

Social Security in Developing African Nations

The image of Africa is changing. For centuries this dark continent has been known as a verduous land of jungle mysteries and teeming heat, of tribal dances and beating drums, moving in slowly ordered rhythm, guided by the hands of an invisible watch, yet responding to time as though the hands had stopped, the inner movements of the timepiece stilled. Today's headlines are shaping an image of newly gained freedom for 140 million Africans, of other millions still seeking independence from colonial domination, amid frequent governmental instabilities which so often accompany the early and uneasy steps of infant nations. Images change but the persistence of poverty pursues its stark and inexorable course. Like the Africa of old, New Africa is poor. In Tropical and Southern Africa, per capita gross national product is typically less than $2 a week, and in Upper Volta and Niger only $40 a year. Highest continental figures are found in Ghana ($223) and Rhodesia and Nyasaland ($181), unless South Africa ($409) with its larger white population is included. Since the end of 1959 sustained and

St. Francis Indian Dances - 1960

On July 3, 1960, a 300th anniversary celebration was held at the St. Francis Wabanaki village of Odanak. One of the features was a pageant showing the Indians coming to this site, an island in the St. Francis River lying between the villages of Perreville and St. Francis in Quebec Province, after they were driven from Maine and New Hampshire during the French and Indian War. A program of tribal dances followed the pageant. At the rehearsal on July 2, the dance leaders seemed pleased to find the author interested in their program and willingly answered questions. The following facts were quickly ascertained: all Indian dances were forbidden at St. Francis by a local priest about 1925; no dances form any part of St. Francis ritual at present; St. Francis Indians have almost no contact with other Wabanaki tribes--neither of the leaders had attended dance ceremonies or programs at other Wabanaki reserves; one of the leaders had been taken to a program of Western Indian dances by A. I. Hallowell a number of years ago and the other had seen Iroquois dances. This information would lead one to conclude that the dances at Odanak would be a poor representation of what St. Francis ritual once was. However, the rehearsal produced a large repertoire: Snake Dance, Eagle Dance, Blanket Dance, Friendly Dance, War Dance, Tomahawk Dance and Calumet Dance. Dances similar to most of these are known to the Penobscot, Passamaquoddy and Malecite, the other members of the Wabanaki group. After the rehearsal the dance leaders listened to recordings made previously by the author of dance music by the other three Wabanaki tribes. Although the St. Francis dance leaders had not sung songs to their dances, they were able to understand the recordings and felt that their own dances should have had these songs also. But no one felt that his voice was good enough to sing the songs at the celebration. The music at the program consisted of drumming and impromptu yelling. The Snake Dance is an old dance originally used at the beginning of any ceremony which included dancing. When the festivities were ready to begin a dance leader would start out twisting and turning between the wigwams. Soon many merry-makers would join the serpentine line which would terminate at the dance place where the ceremony was to take place. William Mechling describes this dance (1958:151). Frank G. Speck recorded Jack Solaman, a Malecite, singing the Snake Dance song at the Tobique Point Reserve about 1913. Speck also describes the use of the Snake Dance by the Penobscot (1940:283-284). Dr. Walter J. Fewkes describes the use of the Snake Dance by the Passamaquoddy (1890:262-269). In all instances the dance is very similar and the Odanak performance was essentially the same as the description above. The Friendly Dance is called a Greeting Dance by the other Wabanaki tribes and is performed when visitors arrive. It resembles the Virginia Reel in that it begins with a line of men facing a line of women, and in other ways, as the following description by one of the dance leaders at Odanak shows: