Section 10. The Pow Wow

Reflection of the Past

Anyone who has ever attended a Pow Wow knows the mesmerizing feeling created by the dances. The voices singing in unison to the pounding drum have a peaceful calming effect.

The Pow Wow of today is a reflection of the past, a culmination of native culture and spiritualism. It's only been in the last century that these gatherings have been referred to as Pow Wows. Long ago these were called encampments, a coming together of the people in song, dance, games, prayer and healing, a time of teaching and learning respect, the attributes of native culture. The Shuswap bands traditionally met at Green Lake about once a year to trade and talk politics. It was also an opportunity for the young men to meet and court their future brides, as it was forbidden to marry anyone from your own band.

The vast Secwepemc traditional territory was approximately 56,000 or 142,000 square kilometers and these gatherings were especially important to the Secwepemc because the member bands were spread so far apart. The encampments gave these far away bands the opportunity to mingle with the rest of the tribe, rekindling old friendships and perhaps making new ones.

After European contact, these gatherings were no longer permitted as the new comers did not understand the significance of the meetings and thought that these practices were evil. By law, the Shuswap people had to adapt to the new ways and laws of the new society.

It has only been in the last 50 years that the Pow Wow was created. The Pow Wow of today is based on the traditions and spiritualism of the past. The Shuswap culture has survived the changes of European dominance and continues to grow.

The Heart and Soul of the Pow Wow

The heart and soul of the Pow Wow are the songs. The drumbeat symbolizes the heartbeat of the earth. Calf Eye Jules of the Kamloops band has been a drummer and singer since the early 70's. "Most songs are passed down but you do have to learn new songs that have the certain beat for the dancer." Permission must also be given when you use another drum group's song. "To use another groups song without their permission is an insult to them." says Calf Eye.

One type of song is the" Straight song." This is a song without words. The singer imitates the sound of the wind and puts it to a drumbeat. Each dance category has its own song. Other songs include the Owl Dance Song, which is like an Indian waltz, and the Honor Song for the veterans in tribute to what they've accomplished.

Although the powwow is a fairly new concept in society's eyes it is of great importance to the native community today. These gatherings allow the native people to express their native heritage and pay tribute to their ancestry. For the young generation of natives knowing their culture - the dances, songs, history and language - instills a sense of pride and self-esteem. For Percy, passing on the culture to the next generation is of great importance. "My father gave me my legends and language. Through him I've gained the outlook on life that I have." Percy also teaches the Secwepemc language in two nearby schools. His goal is to have this next generation communicating in Secwepemc.

For Calf Eye the teaching is also very important. "I feel proud when a young person speaks to me in our own language." Calf Eye and John Jules are also passing on their knowledge to the younger generation by teaching drumming and singing at weekly classes. "It is not just here," says Calf Eye, "young singers are starting up all over the country."

The Pow Wow grounds are quiet now, but soon it will be August and the people will gather once again in celebration of the native culture. For the time being we can listen for the song in the wind and the drumbeat in our hearts. In Percy's words, "Time marches on and awaits no one, so will our drumbeat. When my drumbeat is over and my highway ends another generation may carry on our forefather's footsteps."

A) Shuswap Songs and Dances

Drums were used at dances and as an accompaniment to singing. They were circular and exactly like those of the Thompson tribe. They were very seldom painted or decorated in any way. Fawn's hoofs were sometimes attached all around the rim.

Certain kinds of ceremonial dress and ornaments were used when giving dances and potlatches. Each group had a distinct song and dance. Most dances were performed in the wintertime only, but some could take place at any season. The only mask remembered is one representing a beaver and another representing a corpse. Rattles made of wood and bark enclosing pebbles were commonly used in dances.

In the Pow Wow of today lies the spirit of competition. Dancers are awarded prizes based on their performance, regalia and the clothing that they wear during the dances. There is also the princess pageant where the young ladies compete and are judged on their talent, poise, public speaking skills, regalia and dance. The winners of the pageant have the honor of leading the grand entry and also represent their titles at other celebrations.

There is also the traditional Pow Wow where no prizes are presented and there is no competition dancing. These types of Pow Wows are reserved for spirituality, friendship and social gatherings. Different ceremonies such as name giving, memorials and giveaways could be celebrated at this time.

Traditional Dance

The men's Traditional Dance is the dance of the warrior. Long ago, this dance was performed when a war party or hunting party returned. The warriors during the dance told their story and challenged the other warriors to better their intricate dance movements. Today, the Traditional Dance is done by the young men and war veterans.

Percy Casper from the Bonaparte Band began dancing in 1962 as a fancy dancer, continued as a Grass Dancer and is now a Traditional Dancer. He has attended many Pow Wows throughout Canada and the USA, winning many competitions.

In explaining the regalia worn by the men's traditional dancer, Percy says. "On the head of the veteran is worn a feather roach with two eagle feathers that spin freely signifying two warriors in combat." Also worn is a bone choker once in battle to protect the neck as well as a breastplate that acted as armor against arrows and spears. Mirrors are used on regalia to signify communication. Says Percy; " Long ago mirrors were used to signal each other. If a war party was across the valley you could signal each other to find out what they were up to."

Other items of significance worn by the veteran are the skin of the river otter which indicates he's been in combat as well as giving the user authority on the dance area. Deer toes show that the warrior is quick and fast. The veteran has the right to wear war paint; he also has the right to paint someone else.

John Jules of the Kamloops Band is also a traditional dancer and has danced for approximately 25 years in Canada and the USA. On the dance itself John says, " The Traditional Dance tells the story of the person, his dreams, spirit powers, wars and hunts, the life that he has gone through. The movements tell the story."

John Jules at the Kamloopa Pow Wow 1993

Of great significance in native culture is the eagle. John explains, "The eagle carries the prayers to the Creator; eagle feathers have to be earned and show the dancer's status in the community as a respected and knowledgeable warrior."

Sometimes during the Pow Wow, a feather is dropped and a ceremony is necessary before the feather can be picked up. Only a veteran who has seen combat has the right to pick up the feather.

Ladies Traditional Dance

The Ladies' Traditional Dance nowadays can be performed in a contemporary style, but long ago, the ladies did not do the war dance. They stood outside the circle moving their bodies up and down in support of the warriors.

The Grass Dance

The Grass Dance is the original dance of the people and started on the prairies. One story of its origin says that when the people would set up camp, the men would have to stomp down the grass; today's dance mimics their movements.

One spectator favorite is the hoop dance. The dancer has a number of hoops and makes different configurations such as the wings of a bird in flight and a ball signifying the world.

The Jingle Dress Dance

The ladies perform the Jingle Dress Dance. The legend of the dance is that long ago a woman was very sick when she had a dream that she was doing this dance. When she told the elders about the dream they told her she had to dance in this way and make songs to go with the dance. The bells on the jingle dress are said to represent the 365 days of the year, one bell for each day.

Marmot Dance

The chief actor appeared carrying a pack and the sticks used for marmot-traps as if he were going on a trip to the mountains to trap marmots. Another man imitating the action of the marmots by motions and by whistling, and the dance finished with his capture by the trapper. The song to this dance was very peculiar.

Hunger or Famine Dance

The chief actor appeared almost naked and painted like a skeleton to represent the famine. White strips running down the legs, arms and backbone, across the shoulders and along the ribs, represented bones. Circles were painted around the eyes and dots or marks in the brow, cheeks and chin. He had white paint or down on his head and a long white streak across his mouth. Sometimes he wore a mask with hollow cheeks, protruding eyes and projecting jaws and teeth. Hunger was one of the figures of Shuswap mythology.

The Beaver Dance

The performers wore masks of bark and headbands of beaver skin, having a beaver tail in front and a number of tail feathers all around. The mask was painted with vertical red stripes.

Moose, Caribou, Elk and Deer Dances

Persons danced dressed in the skins of moose, caribou, elk and deer with the scalp part hanging over their head and face. Some had antlers attached to the head and neck, others assisted in the acting. The dancers imitated all the actions of the animal, impersonating its feeding and fighting. The actors would assist by playing the hunter, hunting and snaring, chasing over lakes in canoes and the final capture or death.

Salmon Dance

Some men who were said to belong to the Salmon used to act in a dance the catching of salmon with dip-nets, spears while singing the Salmon Song.

Salmon Dance

Ceremonial Dances

The songs sung at the ceremonial dances are supposed to have been obtained from the spirit-land. It is also said that the chief of the dead advised the Indians to perform these ceremonies. They were also said to make it easier for the dying to reach the spirit-land and to make life there more pleasant for them and to strengthen the bonds between the living and the dead. It was also believed that no more messages from the spirit-land would come if the ceremonies were not performed.

Mystery Songs

At least once during the winter the people would gather in the largest underground house, and each in turn sung his mystery-songs, either the most powerful song obtained from his guardians, or the one best adapted for the purpose of the ceremony. In his song each man told whatever was wonderful or important that had happened to his spirit since last they sang the mystery-songs. Very few of the men danced when they sang. This ceremony trained all the youths in the singing of their mystery-songs, to give them self-confidence, to find out how they were progressing, who their guardians were, and who among them was likely to become great.

Service Berry Dance

Women danced with baskets of service-berry branches, imitating the gathering of berries.

Berry Dance

Prairie Chicken and Ruffed Grouse Dance

Both men and women, the dancers imitating the cries and all the action of these birds, performed these. Each dance had a song of its own. They adopted the Prairie Chicken Dance and Song and their women sometimes danced it at potlatches for amusements, the dancers being paid.

The Thunder, Wind, Rain, Arrow and Frog Dance

The performers wore headbands of beaver skin without the tail. No masks were used but faces were painted in different ways. In one or two of these dances, arrows with very large stone heads were used, and the bows were covered with dentalium shells. Feathers and scalps of redheaded woodpeckers were attached to the body and hair. In a few dances, the dancers used necklaces and belts of cedar or other bark dyed red, while others wore necklaces of dentalia. Short bark whistles were sometimes used and strings of fawn's hoofs were often worn around the ankles, knees, wrists, elbows and neck.

The Graveyard Dance

This dance was performed when people erected large carved monuments at graves. In later days it was performed when people carried heavy logs to graveyards for use as the bottom logs or sills of fences. It was performed to give people strength. Drums were brought, people sang and soon they snatched up the log and marched away with it. As excitement increased, they danced with the log, sometimes raising it above them. One to four men would leap on top of the log and dance on it, or run back and forth on it, as it was carried along. The log was carried to the houses first where other people joined in and then it was carried to the graveyard, deposited and the dance stopped. This dance was always performed at night.

The Snow Dance

Much swan's down was scattered about, perhaps in imitation of snow and the dance was performed chiefly by hunters, who dressed as if they were travelling on snowshoes in cold weather. They danced in a circle, carrying their bows and arrows and sang the Snow Song.

The War Dance

The War Dance

Warriors moved in a circle against the sun's course, singing their war song. The warriors tried to make themselves look as fierce as possible and many different hair arrangements and curious headdresses were used. Every warrior decorated himself with eagle feathers stuck in or fastened to their hair, or attached to the war-caps which many wore. Eagle feathers were also attached to the elbows, wrists, legs clothes, spears, clubs and even sometimes to the trailers of moccasins.

Potlatches

The Shuswap gave many potlatches. Guests upon arrival made an offering or present of many articles which were accepted by their hosts. A special short song was sung when gifts were given and received which was accompanied by loud beating of drums and shaking of rattles. Another special song was sung when the people were about to feast and commenced as the servers were seen carrying in the food.

The party receiving gifts had to return them in equal or slightly increased value at a future date.

Caryll Coles, The Pow Wow, Reflection of the Past, SCES 1998
Marie Matthew, Shuswap Songs and Dances, Shuswap Cultural Series-Book 7, SCES