American Indian dance

American Indian dance exists everywhere in America and in every venue, from the most traditional and private spaces to those most public and accessible. Thousands of dancers perform every day in out-of-the way places -- not to satisfy paying audience or patrons, but to assure the continuation of ancient lifeways, to honor deities and each other, to associate with friends and kin, and to affirm their Indian identities. Others showcase Native American dance on the stage, using the worlds of ballet, modern dance, or abridged versions of traditional dance.

Most Indian dance events are non-commercial and succeed with nothing but word-of-mouth advertising. Since admission is rarely charged, and parking is often free, an audience from outside the local community is usually neither cultivated nor expected. The best performers and leaders (or choreographers) rely on time-tested notions of space, time, music, dress, adornment, and steps to create dance events. Most dancers learn by participating from childhood and continuing throughout their lives. Nowadays, a few enroll in classes, take private or group lessons, or complete apprenticeships with master Indian dancers. Most either make their own dance apparel or commission it from friends and family, and few make any money practicing their art. -- (Charlotte Heth in Marsha MacDowell, ed. Contemporary Great Lakes Pow Wow Regalia: "Nda Maamawigaami (Together We Dance)". East Lansing, Michigan: Michigan State University Museum in collaboration with the Nokomis Learning Center, 1997)

American Indian dancing in the Great Lakes

In the Great Lakes the most common social dances are the Round Dance, Snake Dance, Crow Hops, and Two-step. Two-steps, a ladies' choice, is probably the social dance performed most frequently and "Midnight two-steps" are favorite dances performed late in the evening.

Exhibition dances typically feature the six styles of dance also common to the Great Lakes competitions: "Traditional' (for men and women), "Fancy" and "Grass" (for men only), and "Fancy Shawl" and "Jingle" (for women only). Occasionally more individualistic dances such as the hoop, eagle, or partridge dances are seen.

Competitive dance categories are broken into age-level categories: Seniors, Adult, Young Adult, Children, and, sometimes, Tiny Tots. Dancers are generally judged on their overall participation, keeping time with the drum, stopping on time, and their regalia. At traditional non-competitive pow wows dancers are generally offered gas money and gifts for their participation. At most competitive pow wows dancers receive cash prizes or payments which represent a kind of reciprocity as the pow wow would not be possible without their participation. -- (Arnie Parish and Marsha MacDowell in Marsha MacDowell, ed. Contemporary Great Lakes Pow Wow Regalia: "Nda Maamawigaami (Together We Dance)". East Lansing, Michigan: Michigan State University Museum in collaboration with the Nokomis Learning Center, 1997)

Fancy dances and regalia

No other style of American Indian dance has such widespread popularity among native peoples across the country than the Fancy Dance and the regalia has become the pervasive outfit of the Pan-Indian dancer. While Buffalo Bill's Wild West Show may not have been the only reason for the creation of the Men's Fancy Dance, it does reflect the desire of young men to have a showier, more athletic dance and the desires of an outside audience for a "better show."

The most striking feature of the Fancy Dance regalia are the large bustles. These are usually "swing" bustles, made to allow the feathers to swing back and forth with the dancer's movement. All fancy dancers use twirlers. The whole assemblage usually features one or two favorite colors of the wearer. -- (Cameron Wood with Jason George in Marsha MacDowell, ed. Contemporary Great Lakes Pow Wow Regalia: "Nda Maamawigaami (Together We Dance)". East Lansing, Michigan: Michigan State University Museum in collaboration with the Nokomis Learning Center, 1997)

Quotes from pow wow dancers and regalia makers in the Great Lakes

To many people their outfits are a part of them. Some people dreamed of their outfits and they hold special meaning. A lot of people I know, their outfits have been handed down to them from their grandfather or grandmother. These aren't just something we throw together. (Bedahbin Webkamigad)

Well, I don't put a label on why I dance. I dance because I enjoy it. It's a part of me and a part of my life. It helps to keep the community together... to always remember where we came from and where we are going. (Catherine Gibson)

The regalia that the traditional dancers wear has a lot to do with our beliefs. The colors that we wear with our regalia have meaning. Green represents Mother Earth. These colors [of my regalia] I have because I am Deer Clan...they are orange and yellow and white....Those are the colors that are like identification for me. (Stanley Peltier)

I started so young...I do remember starting to realize how much effort it took to put together an outfit. I remember I was probably about seven when I started wanting to help put together my outfits. I learned sewing from my mom and my dad helped me learn how to work with hides and make chokers. All my brothers and I were taught how to sew and all of us can get by doing some beadwork. (Bedahbin Webkamigad)

It's [the jingle dress] a healing dress and a very special dress. The healing and teaching behind it...[includes this story that]there was a grandchild that was sick and her grandfather didn't know what to do. And one day that grandfather had a dream of that girl; she was to wear a dress covered with bright cones. And in that dream that girl, the grandchild, would be healed. Each cone represents each day of the year, the 365 cones that I mentioned. This dress is seen as a healing dress and it is greatly respected. So this is the story of the jingle dress. (Elizabeth Osawamick)