Sandpaintings, also called dry paintings, are called "places where the gods come and go" in the Navajo language. They are used in curing ceremonies in which the gods' help is requested for harvests and healing. The figures in sand paintings are symbolic representations of a story in Navajo mythology. They depict objects like the sacred mountains where the gods live, or legendary visions, or they illustrate dances or chants performed in rituals.
The Navajos, or Diné (“the People”), have created a rich cosmology of gods, or Holy People, who are represented by nearly everything, including the four sacred plants (corn, squash, beans, tobacco), clouds, animals, stars, lightening, thunder, etc. According to Navajo myth, as a reward to a hero, the Holy People bestowed upon the Diné the right to create transient pictures in sand of their own sacred designs, which the gods drew on spiders' webs, sheets of sky, clouds, fog, buckskin, and fabric.
Curing ceremonies in which sandpaintings are drawn help restore hózhó, which is variously translated as beauty, balance, harmony, or holiness. Navajos try to live in harmony with Mother Earth and Father Sky, and all of nature. But they also believe that hózhó is difficult to maintain because of witchcraft, evil spirits, violated taboos, and the fact that the Holy People are sensitive and easily offended. If hózhó is lost because something bad happens, the unfortunate person visits a Singer, also called a Medicine Man/Woman or Healer, to restore the cosmic balance. Ceremonies can last up to nine days, with four or more sand paintings created in that time.
Sandpaintings are made with sand, colored charcoal, pollen, corn meal, white gypsum, red sandstone, yellow ocher, and crushed flower petals. The colors used are symbolic, and also represent the four sacred mountains of the Navajos: white, meaning east or dawn (White Shell Mountain, or Sierra Blanca Peak in Colorado); yellow, for the west or twilight (Abalone Shell Mountain, or San Francisco Peak in Arizona); black (male), meaning north or darkness (Coal Mountain or Hesperus Peak in Colorado); blue (female), for the south or sky (Turquoise Mountain, or Mount Taylor in New Mexico); and red for sunshine. The borders are garlands to ward off evil, such as rainbows, interconnected arrowheads, sunflowers, or multicolored mirages.
The three main sandpainting patterns are linear, in which the figures appear above lines and a ground bar; extended center, where the central design dominates; and radial, in which images are painted around a central point that indicates an important location.
Sandpaintings can be anywhere from one to twenty feet in diameter, or six to eight feet square; the largest ones can keep a dozen or more apprentices busy for most of a day. Sand is dribbled on a sand bed one to three inches thick in a Navajo hogan--an eight-sided cribbed-log dwelling--and smoothed with a wooden weaving-batten. Sometimes a buckskin or cloth rather than sand is used as a surface.
There are from 600 to 1000 sandpainting designs. The east is usually shown at the top of the design, open to let in the light of dawn. The painting used for a particular ritual is chosen by the healer, or Singer, who has served an apprenticeship and earned permission to prescribe sandpaintings to cure various mental and physical ills. Each painting is matched with a set of songs and rituals called chantways, named for the forces working for the patient (such as Coyoteway, Antway). These chantways can last from two to nine nights, with as many as nine different paintings drawn. The songs contain ritual formulas, and each Singer knows one or two of them (there are over 100 in all). Some paintings are created exactly the same for each ritual, while others are allowed to have variations. But in each one, every detail must be accurate, and all are created and then destroyed between sunrise and sunset of one day.
The Whirling Logs sandpainting, the most well known, is the theme of the Nightway chant. In the Whirling Logs narrative, illustrated by the sandpainting, the hero goes on a long journey in which he has many adventures and gains much knowledge. The gods are Talking God, the teacher, on the top; and Calling God, associated with farming and fertility, on the bottom. On each side are two humpbacked guardians who are seed gatherers and bearers and usually carry tobacco pouches. Both gods carry prayer sticks, and Talking God has a weasel-shaped medicine pouch.
On the crossed logs are two Yeis, or celestial guardians, seated on each of the four ends. They teach the hero farming and give him seeds. The male Yei wears a round head mask, and the female Yei wears a square head mask. The four sacred plants are depicted in the four sacred colors described above. A rainbow Yei serves as a three-sided border, with the top open to let in the dawn. Sometimes a circle is drawn and painted blue at the intersection of the logs, representing the destination of the story's hero.
The healing ritual has two parts. It starts with purification and exorcism of evil through the use of emetics, herbs, and sweat baths. This is followed by supplication, in which ritual sandpaintings are employed. The Singer uses song, prayer, and movements to relate the body of the patient to the body of the gods. The patient is seated on the sandpainting facing east, the direction from which the Holy People come. The painting serves as a pathway for humans and gods to interact; evil or illness is replaced by the healing power of the gods depicted in the painting. Guardians of the gods can be represented by the moon, the sun, or animals such as bats, buffalos, snakes, beavers, or otters. The patient absorbs the wisdom of the gods, who continue to guide the patient even after the end of the ritual. When the ritual is completed, members of the audience approach the painting and rub sand on themselves, thus participating in the healing ceremony and bringing harmony to themselves. The sandpainting is then ceremonially destroyed in the reverse order of its creation, and buried to dispose of all absorbed evil, preventing it from angering the Holy People.
Since Navajo rituals focus on blessing, purification and curing, the idea of a permanent sandpainting is contrary to their belief system. Despite this fact, in the 1930s some Singers decided to allow the transfer of sandpainting designs to paper and hides. They were designed as teaching tools and as a way of passing the tradition to future generations. But they were probably altered to prevent the wrath of the Holy People.
Today sandpaintings are created for sale on particleboard or pressboard with glued sand. Many are quite well done, though secular, with alterations from the originals rendering them harmless. Some sandpainters will not draw certain figures, and others draw only non-traditional pictures or geometric designs. These permanent sandpaintings are usually sprayed with a fixative to protect them, but they still need to be handled carefully to prevent deterioration.
Hosteen Klah was the most influential Singer to break the tradition of strictly ceremonial sandpaintings and weave them into rugs. An amateur Navajo ethnographer named Franc J. Newcomb came to the Navajo reservation in 1913 with her husband to run the trading post. She became friends with Klah, who allowed her to attend Navajo ceremonies. From memory, she made drawings of over 700 sandpaintings and persuaded Klah to make corrections to her drawings. He then decided to record the ceremonies for future generations. His first weaving was of the Whirling Logs sandpainting, after he appeased the Holy People through incantations, realizing the danger of making a permanent record of the illustrations.
Mary Cabot Wheelwright, a member of a party of tourists who visited the reservation, bought a sandpainting weaving from Klah after promising never to put it on the floor where it could be walked on. Eventually she created the Museum of Navajo Ceremonial Art in Santa Fe--now called the Wheelwright Museum--in the shape of a hogan to house a collection of his sandpainting textiles, where they are still displayed today.
Navajo sandpainting textiles come from an area near Shiprock in northwestern New Mexico. The technique of weaving sandpaintings is difficult and complex, and added to that is the necessity of appeals to the Holy People by the weaver to protect her from the danger of Navajo taboos. Many weavers today will not make an exact replica of a sandpainting illustration; designs are woven into rugs with errors included. But increasingly, sandpaintings are being reproduced exactly in an effort to preserve Navajo art and culture.
Saturday, 8 May 2010
Native American Traditional Dance
Many people who have attended American Indian Pow Wows are familiar with the traditional dances that take place in the sacred circle. The dancers will take to the Pow Wow arena and perform dances related to the American Indian culture. Men and women alike participate in these dances. American Indian "Traditional Dances" are for both men and women to participate in.
The "Traditional Dance" is one of the most spectacular that you will witness at Pow Wow events. Since the days when warriors would act out their acomplishments, traditional dance has played a major role in American Indian dance.
In men's traditional dance, a story of bravery, or the story of the hunt is acted out. Traditionally the men would come home from their venture and act out their accomplishments to the villagers. This form of storytelling has been handed down for centuries. These stories are still acted out in the form of traditional dancing on the Pow Wow circuit today.
With the traditional dance comes responsibility. Each dancer must assemble regalia by traditional means. The dancer must procure eagle feathers as well as animal sinew. Bones and animal skins are also used to assemble the dance regalia. Each item must be obtained in traditional American Indian fashion much like the ancestors did centuries ago. Each of the items must be blessed before using in the regalia because these items are sacred.
Northern Plains Traditional Dancers can be easily identified at the Pow Wow. These men wear a bustle on the back of their dance regalia that is assembled of eagle feathers. Like their ancestors the feathers must be gained by traditional means and this bustle must be treated as a sacred object. If any part of this bustle touches the ground it must be cleansed with powerful prayer in traditional American Indian fashion.
Southern Plains Traditional dancers are slightly different in their regalia. The Southern Traditional men wear a otter skin down their back instead of the eagle feather bustle. This skin symbolizes the sacred hunt. This otter skin is considered sacred and must be blessed also.
The remaining regalia is much the same. Buckskin pants are sewn in traditional fasion with animal sinew. Usually the dancers will not wear shirts, although occasionally a dancer may wear a buckskin vest. Moccasins are the footwear to compliment the regalia. Usually boot style lace-up moccasins are worn that rise to the knee.
Whether from the Northern Plains, or the Southern Plains the traditional dances are a spectacular site. The traditional dance is a dance of bravery and spirit. This is one of the oldest known dances from the Plains Indian nations.
For the women dancers the Traditional dance takes on another meaning. The value of women in the Indian community is demonstrated by the honor shown. Her role as a giver of life and the keeper of the home and family is portrayed in the traditional dance.
Traditionally the women wore buckskin, or woolen dresses. This tradition is also true today. The traditional women dancers wear regalia of traditional of their ancestors long ago.
The buckskin dress worn is sewn in traditional fashion with animal sinew. The women dancers will also wear a breastplate made from animal bone over the front of the buckskin dress. The buckskin dress will have long flowing fringe along the arms and hem. Moccasins of tanned skin will also be worn to compliment the regalia.
The alternative of a woolen dress is often used by both Northern and Southern Plains dancers. This heavy woolen dress is usually dark in color. Fringe along the inside arms and the hem of the dress will display small shells. These shells are sewn, or tied onto the bottom of the fringe.
The dances vary according to region. The southern womens' traditional dancers will always dance in a clockwise fashion in the Pow Wow arena. The southern womens' traditional dance has plenty of movement such as spins and sharp turns.
The Northern women traditional dancers will always remain in the same spot when they dance.
The regalia of both North and South alike tells a story. The fringe on the arms and hems of the dress represent the sacred waterfalls. Both dances are done with grace and elegance as well as respect for tradition and mother earth. Each of these dances represents the beauty of Indian women and what they sacrifice for Mother Earth, life, and family.
American Indian dance represents a lifelong commitment.Usually the dance is taught to the children at a young age. Throughout this childs life he or she will dance into their adulthood. It is then prayed for that this adult will then teach the dance to their children. By teaching the dance this way it will prevent American Indian culture and tradition from becoming instinct.
During Pow Wow many things occur. Prayers are said for those that will perform any of the dances. Prayers are also said for those ancestors who have passed on whether it was yesterday or one thousand years ago. The ancestors are prayed for in thanks for all the wisdom they passed on and for the traditions that are still carried out today. Many prayers carry blessings for everyone who attends the Pow Wow and shares and appreciates the traditions that have been held sacred for many centuries.
The "Traditional Dance" is one of the most spectacular that you will witness at Pow Wow events. Since the days when warriors would act out their acomplishments, traditional dance has played a major role in American Indian dance.
In men's traditional dance, a story of bravery, or the story of the hunt is acted out. Traditionally the men would come home from their venture and act out their accomplishments to the villagers. This form of storytelling has been handed down for centuries. These stories are still acted out in the form of traditional dancing on the Pow Wow circuit today.
With the traditional dance comes responsibility. Each dancer must assemble regalia by traditional means. The dancer must procure eagle feathers as well as animal sinew. Bones and animal skins are also used to assemble the dance regalia. Each item must be obtained in traditional American Indian fashion much like the ancestors did centuries ago. Each of the items must be blessed before using in the regalia because these items are sacred.
Northern Plains Traditional Dancers can be easily identified at the Pow Wow. These men wear a bustle on the back of their dance regalia that is assembled of eagle feathers. Like their ancestors the feathers must be gained by traditional means and this bustle must be treated as a sacred object. If any part of this bustle touches the ground it must be cleansed with powerful prayer in traditional American Indian fashion.
Southern Plains Traditional dancers are slightly different in their regalia. The Southern Traditional men wear a otter skin down their back instead of the eagle feather bustle. This skin symbolizes the sacred hunt. This otter skin is considered sacred and must be blessed also.
The remaining regalia is much the same. Buckskin pants are sewn in traditional fasion with animal sinew. Usually the dancers will not wear shirts, although occasionally a dancer may wear a buckskin vest. Moccasins are the footwear to compliment the regalia. Usually boot style lace-up moccasins are worn that rise to the knee.
Whether from the Northern Plains, or the Southern Plains the traditional dances are a spectacular site. The traditional dance is a dance of bravery and spirit. This is one of the oldest known dances from the Plains Indian nations.
For the women dancers the Traditional dance takes on another meaning. The value of women in the Indian community is demonstrated by the honor shown. Her role as a giver of life and the keeper of the home and family is portrayed in the traditional dance.
Traditionally the women wore buckskin, or woolen dresses. This tradition is also true today. The traditional women dancers wear regalia of traditional of their ancestors long ago.
The buckskin dress worn is sewn in traditional fashion with animal sinew. The women dancers will also wear a breastplate made from animal bone over the front of the buckskin dress. The buckskin dress will have long flowing fringe along the arms and hem. Moccasins of tanned skin will also be worn to compliment the regalia.
The alternative of a woolen dress is often used by both Northern and Southern Plains dancers. This heavy woolen dress is usually dark in color. Fringe along the inside arms and the hem of the dress will display small shells. These shells are sewn, or tied onto the bottom of the fringe.
The dances vary according to region. The southern womens' traditional dancers will always dance in a clockwise fashion in the Pow Wow arena. The southern womens' traditional dance has plenty of movement such as spins and sharp turns.
The Northern women traditional dancers will always remain in the same spot when they dance.
The regalia of both North and South alike tells a story. The fringe on the arms and hems of the dress represent the sacred waterfalls. Both dances are done with grace and elegance as well as respect for tradition and mother earth. Each of these dances represents the beauty of Indian women and what they sacrifice for Mother Earth, life, and family.
American Indian dance represents a lifelong commitment.Usually the dance is taught to the children at a young age. Throughout this childs life he or she will dance into their adulthood. It is then prayed for that this adult will then teach the dance to their children. By teaching the dance this way it will prevent American Indian culture and tradition from becoming instinct.
During Pow Wow many things occur. Prayers are said for those that will perform any of the dances. Prayers are also said for those ancestors who have passed on whether it was yesterday or one thousand years ago. The ancestors are prayed for in thanks for all the wisdom they passed on and for the traditions that are still carried out today. Many prayers carry blessings for everyone who attends the Pow Wow and shares and appreciates the traditions that have been held sacred for many centuries.
The History of Scalping
How did the Indians start scalping their victims? One theory is that they learned it from the European settlers. A few Indian tribes had practiced scalping to a very limited extent before the Europeans arrived.
More often than not, scalping was practiced as a response in kind. The Eurpoeans had taught them, first hand, the horror of viewing the mutilated remains of their families and friends after an attack by white settlers. By inflicting the same mutilation on their enemies they had hoped to stem the onslaught of these white settlers that were invading their land. To some Indians,if the attacks could not stop the whites, at least it would send the message that they were prepared to be as unscrupulous as the Europeans. The Iroquois in particular, used scalping to this purpose.
In the 11th century, the Earl of Wessex scalped his enemies. When the English and the Dutch came to the new world they brought the custom with them. This activity was brought not so much as an official method of warfare, but as a bounty to ease the anger of the frontiersmen.
The western border of the colonies was being populated with settlers that were comprised of a dubious lot. They were outlaws and runaways. With them they brought disease and alcohol. The frontier was a breeding ground for conflict with the Indian population. Initially the frontiersmen turned on the Indians in an attempt to move them off the land. When the Indians retaliated, the settlers turned to the government for help. The settlers demanded retribution for the Indian reprisals. The Dutch, and soon after the English, government created the scalp bounty as a means to pacify the settlers. Simply, they paid a fee for each scalp that was delivered to the locally appointed magistrate.
Although the army was accomplishing the task of displacing the Indians, the bounty encouraged settlers to mount attacks on the Indians whenever they could. In 1703, Massachusetts paid 12 pounds for an Indian scalp. By 1723 the price had soared to 100 pounds. To the frontiersmen, it did not matter if the scalp came from an Indian or a white man. All that mattered was the bonus. The practice eventually became widespread. The French used the bounty on scalps to eradicate a peaceful tribe in Newfoundland. During the French and Indian Wars, the English offered their troops a bounty of 200 pounds for the scalp of the chief of the Delaware tribe, Shinngass. This was 25 times the price that they offered their Indian allies for the scalp of a French soldier. This practice of paying a bounty for Indian scalps continued into the 19th century before the public put an end to the practice.
This practice of paying a scalp bounty inspired a widespread retaliation from the Indians. White frontiersmen would scalp not only the warriors but also the women and the children. In many cases the scalp was not even taken from an Indian. The government could not tell the difference. However, the Indians were blamed for initiating the practice, because no European would stoop so low as to take a scalp. It should also be noted that only the Indians were held accountable for the practice.
More often than not, scalping was practiced as a response in kind. The Eurpoeans had taught them, first hand, the horror of viewing the mutilated remains of their families and friends after an attack by white settlers. By inflicting the same mutilation on their enemies they had hoped to stem the onslaught of these white settlers that were invading their land. To some Indians,if the attacks could not stop the whites, at least it would send the message that they were prepared to be as unscrupulous as the Europeans. The Iroquois in particular, used scalping to this purpose.
In the 11th century, the Earl of Wessex scalped his enemies. When the English and the Dutch came to the new world they brought the custom with them. This activity was brought not so much as an official method of warfare, but as a bounty to ease the anger of the frontiersmen.
The western border of the colonies was being populated with settlers that were comprised of a dubious lot. They were outlaws and runaways. With them they brought disease and alcohol. The frontier was a breeding ground for conflict with the Indian population. Initially the frontiersmen turned on the Indians in an attempt to move them off the land. When the Indians retaliated, the settlers turned to the government for help. The settlers demanded retribution for the Indian reprisals. The Dutch, and soon after the English, government created the scalp bounty as a means to pacify the settlers. Simply, they paid a fee for each scalp that was delivered to the locally appointed magistrate.
Although the army was accomplishing the task of displacing the Indians, the bounty encouraged settlers to mount attacks on the Indians whenever they could. In 1703, Massachusetts paid 12 pounds for an Indian scalp. By 1723 the price had soared to 100 pounds. To the frontiersmen, it did not matter if the scalp came from an Indian or a white man. All that mattered was the bonus. The practice eventually became widespread. The French used the bounty on scalps to eradicate a peaceful tribe in Newfoundland. During the French and Indian Wars, the English offered their troops a bounty of 200 pounds for the scalp of the chief of the Delaware tribe, Shinngass. This was 25 times the price that they offered their Indian allies for the scalp of a French soldier. This practice of paying a bounty for Indian scalps continued into the 19th century before the public put an end to the practice.
This practice of paying a scalp bounty inspired a widespread retaliation from the Indians. White frontiersmen would scalp not only the warriors but also the women and the children. In many cases the scalp was not even taken from an Indian. The government could not tell the difference. However, the Indians were blamed for initiating the practice, because no European would stoop so low as to take a scalp. It should also be noted that only the Indians were held accountable for the practice.
Native Americans and Alcohol
Alcohol found its way to the Native American population of North America during early contacts between Native people and European visitors, traders and explorers who, for whatever reasons, were eager to share their intoxicating drink. And, like many other so-called civilizing influences, alcohol altered the Native American existence, culture, and way of life for many years even yet to come.
It is theorized that traders wishing to gain the upper hand in their dealings introduced alcohol, because of its effects on Native thoughts and reasoning. And, when alcohol became an expected part of trading events, Europeans often came out with the lion's share of traded goods. It wasn't long before Native Americans began to lose their hold on an age-old cherished culture, losing more and more of themselves in the process. Though alcohol was not the only factor in the declining culture, it certainly posed a significant part of the process.
Alcohol, with its addictions for the unsuspecting Natives, allowed warriors to be cheated, slaughtered, or both, all for their coveted furs. And, like the "white man's" diseases, alcohol demanded a heavy toll. Countless Natives lost their lives to alcohol and its effects, some of them spinning out of control in a downward spiral that lasted years. Alcohol became an anesthetic, numbing the heart and soul of a people who had lost their hold on a way of life that would never again be able to sustain them.
But the price of alcohol continues to be felt in today's Native American culture and everyday life. As more and more of the Native culture and heritage became lost in the modernizing effects of European colonization, many Native Americans found themselves caught in limbo between two worlds. The cultural way of life of the past was gone, but the Natives were not accepted as equal members of the new white society, either. Native Americans were forced to totally assimilate into the culture that was new, foreign and intolerable for them. If they failed to do so, they were considered as little more than objects to be placed somewhere "out of sight," so that the rest of the world could go on its modernizing journey. With little to do, and no place to call home but reservations mandated by government, many Natives turned to alcohol to numb the devastating effects of losing their identity.
As generation followed generation, and more of the culture and identity of the past was lost, newer generations of the Native population eventually found alcohol to be their only salvation. With no strong cultural heritage to lead them, and a continued lack of acceptance out in the world at large, there has been little else left them. Even if they could go back to the days of hunting buffalo and living off the land, where are the buffalo today, and what's become of the vast land that was once their cherished home?
Many Native Americans have gone on to build hopeful and positive lives for themselves, some deeply entrenched in the "white man's" world, and others regaining their hold on their culture and heritage. Life is not so bleak for many. Still, alcohol has kept its hold on others, choking out a hopeful view of any kind of a positive future.
Many changes and improvements still need to be made, to enable Native Americans the opportunity to regain their culture and heritage. But much that was lost will be lost forever, as a way of life has been lost and can never be fully regained. In reinventing themselves, reviving their culture and remembering the old ways, there is still a great need for alcohol treatment programs. But even these, alone, won't do the trick. Programs addressing other Native needs, such as employment, housing, etc., can only help re-build the Native structure, and fight the deeply felt hold of alcohol and its effects.
No one of us can ever go back to the past, but we can all work in positive ways to accept and respect other cultures, and to find ourselves in a culture and a heritage that is ours.
Alcohol, like many other detrimental elements in our society, need not gain the upper hand. And placing blame will not regain what was lost, nor will it ease the path to a better future. What was done in years gone by need not continue its devastating effects.
Finding, believing in, and respecting culture and heritage is a positive first step toward a more hopeful future for all of us.
It is theorized that traders wishing to gain the upper hand in their dealings introduced alcohol, because of its effects on Native thoughts and reasoning. And, when alcohol became an expected part of trading events, Europeans often came out with the lion's share of traded goods. It wasn't long before Native Americans began to lose their hold on an age-old cherished culture, losing more and more of themselves in the process. Though alcohol was not the only factor in the declining culture, it certainly posed a significant part of the process.
Alcohol, with its addictions for the unsuspecting Natives, allowed warriors to be cheated, slaughtered, or both, all for their coveted furs. And, like the "white man's" diseases, alcohol demanded a heavy toll. Countless Natives lost their lives to alcohol and its effects, some of them spinning out of control in a downward spiral that lasted years. Alcohol became an anesthetic, numbing the heart and soul of a people who had lost their hold on a way of life that would never again be able to sustain them.
But the price of alcohol continues to be felt in today's Native American culture and everyday life. As more and more of the Native culture and heritage became lost in the modernizing effects of European colonization, many Native Americans found themselves caught in limbo between two worlds. The cultural way of life of the past was gone, but the Natives were not accepted as equal members of the new white society, either. Native Americans were forced to totally assimilate into the culture that was new, foreign and intolerable for them. If they failed to do so, they were considered as little more than objects to be placed somewhere "out of sight," so that the rest of the world could go on its modernizing journey. With little to do, and no place to call home but reservations mandated by government, many Natives turned to alcohol to numb the devastating effects of losing their identity.
As generation followed generation, and more of the culture and identity of the past was lost, newer generations of the Native population eventually found alcohol to be their only salvation. With no strong cultural heritage to lead them, and a continued lack of acceptance out in the world at large, there has been little else left them. Even if they could go back to the days of hunting buffalo and living off the land, where are the buffalo today, and what's become of the vast land that was once their cherished home?
Many Native Americans have gone on to build hopeful and positive lives for themselves, some deeply entrenched in the "white man's" world, and others regaining their hold on their culture and heritage. Life is not so bleak for many. Still, alcohol has kept its hold on others, choking out a hopeful view of any kind of a positive future.
Many changes and improvements still need to be made, to enable Native Americans the opportunity to regain their culture and heritage. But much that was lost will be lost forever, as a way of life has been lost and can never be fully regained. In reinventing themselves, reviving their culture and remembering the old ways, there is still a great need for alcohol treatment programs. But even these, alone, won't do the trick. Programs addressing other Native needs, such as employment, housing, etc., can only help re-build the Native structure, and fight the deeply felt hold of alcohol and its effects.
No one of us can ever go back to the past, but we can all work in positive ways to accept and respect other cultures, and to find ourselves in a culture and a heritage that is ours.
Alcohol, like many other detrimental elements in our society, need not gain the upper hand. And placing blame will not regain what was lost, nor will it ease the path to a better future. What was done in years gone by need not continue its devastating effects.
Finding, believing in, and respecting culture and heritage is a positive first step toward a more hopeful future for all of us.
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