Nico Wind
Hidatsa Songkeeper Alexander Gwin
with Nico Wind
Arlie Neskahi:
To many listeners, traditional native music often means one of two things- either Pow Wow drums, or ancient chants. In reality, native music is both of these and so much more. Among the Mandan and Hidatsa, music infuses everyday life, gives it meaning, spirit and grace. So the keeper of songs is not just an entertainer, but holds an essential place in society. On today’s Tribal Rhythms, Nico Wind takes us to Mandaree, North Dakota to meet with song keeper, Alexander Gwin.
Nico Wind:
On the Fort Berthold Reservation in central North Dakota, winter brings frigid winds blowing unrestricted across the land, and the summer offers bright sun and sheets of rain that can be spotted fifty miles away. The soil is deep and rich and the weather is just right for growing corn – hot in the day and humid at night.
(Alexander Gwin speaking Hidatsa language)
Alex Gwin. Mandan singer. Photo by Milt Lee.
Wind:
Alexander Gwin is both Mandan and Hidatsa. He teaches culture, history, geography and tribal government at Mandaree School in the little town of Mandaree, North Dakota. He also pays respect to his culture through music. Here he sings a traditional song for honoring an individual.
Music:
Individual Honor Song
Alexander Gwin
from WISDOM recording
Alexander Gwin:
We had an outstanding individual amongst our family, who was my brother, my mother’s younger brother, by the name of Jasper Young Bear, who had enlisted in the war, in Korea. And while saving a comrade he was killed in action, so they say. But he bore the name of Sheeshamahktish.
George Catlin American, 1796 - 1872 Green Corn Dance - Minatarrees, 1861 oil on card mounted on paperboard 45.2 x 60 cm (17 13/16 x 23 5/8 in.) Paul Mellon Collection 1965.16.81
So when she was in mourning, I’m referring to my grandmother, my mother’s mom, I was born shortly thereafter. And she said the creator had given her back her son in the person of me. So, informally I was given the name Sheeshamahktish which was his name, so I may aspire to become in the nature of my older brother.
Music:
Hidatsa Honor
Alexander Gwin
from WISDOM recording
Wind:
Gwin is a fluent Hidatsa speaker. He is also a singer. He sits in the Mandaree School band room, surrounded by electronic instruments and stage lights, wearing sunglasses and a baseball cap.
Gwin:
And seldom we are acknowledged for our name, but by our deeds. And we’re not acknowledged or recognized by our talk, but by the trail we leave in life, the journey we have made.
George Catlin American, 1796 - 1872 Four Mandan Warriors, a Girl, and a Boy, 1861/1869 oil on card mounted on paperboard, 47.2 x 63 cm (18 9/16 x 24 13/16 in.) Paul Mellon Collection 1965.16.74
Well, there’s a song for everything. Everything has a song in our culture: to ridicule somebody, for correcting behavior, social behavior. There’s songs for each and every thing.
Wind:
The tradition of marking significant events with song is ancient. Here’s an early recording of Joe Eagle and Mrs. Eagle singing a praising song
Music:
Praising Song (Crazy Dog Society song)
Joe Eagle and Mrs. Eagle
Lamont West
Wind:
Much of Hidatsa social life, as in many native cultures, was centered around men’s and Women’s societies. The societies cut across clan and family boundaries, organizing the population of the village into a number of groups, each serving a particular function or ceremonial role.
In Hidatsa culture, societies usually had their own songs and sometimes even their own musical instruments. The deer-hoof rattle, for example, was the badge of the Dog Society. One society was even named after its signature musical rasp, the Knotched Stick Society.
Here’s Joe Medicine Crow singing a Hidatsa Fox Society song:
Music:
Hidatsa Fox Society
Joe Medicine Crow
La Monte West
Gwin:
But as time went by we acquired Grass Dance Society from the Santee Sioux in thanksgiving of what was done for them to replenish their needs in times of hardship and the way of weapons and horses. That occurred during the days from the late, turn of the century here where the cavalry were after them, and our people, as a whole, befriended the Santee, and replenished their supplies, food, clothing, weapons, horses, all of that. In thanksgiving, they had a big celebration, and with it something that the creator had given to be bestowed upon them, the Santee, they in turn, gave those rights to us, my ancestors.
Wind:
The Goose Society originated with the Mandan and included both men and women. Male singers kept the sacred bundles. Young women would enact the Goose Woman ceremony to help the corn grow strong. It is said that these women were so connected to both the corn and the goose, that when they sang, small birds would fly out of their mouths.
Here’s Alexander Gwin singing a Crow Hop song.
Music:
Crow Hop Song
Alexander Gwin
from WISDOM recording
Gwin:
Now say you were given a song. When you heard it, it’s your song. So if you want it to be sung publicly or be used as a result of a fable, you know, it’s up to you. But songs, they originated usually from spiritual means or depicting one’s trail, whether the bravery and the deeds, or misdeeds in life, the sorrows. They’re all connected. You can’t separate the spirit. It’s like separating the wind.
But you know our religion and the man, the human being, cannot separate the two in our songs. Because oxygen in its purest form, you can’t feel it with your physical self, can’t necessarily see it with your naked eye, or to recognize it to your consciousness. Or taste it. Yet it’s the essence of life. And so it is how the recognition of a song comes to us as people.
Wind:
This song is called a Foot Slide song.
Music:
Foot Slide Song
Alexander Gwin
from WISDOM recording
Wind:
Gwin believes that songs also help his people celebrate who they are and what they can achieve.
Gwin:
There was ah, a gathering in the fall when other people were busy that took place in Elbow Woods, North Dakota. And they had many contests, feats, feats of skill for the women, the men, horse foot races and horse races, and good woman contests and it wasn’t judged because of their beauty. It was based on their skills, how fast they could put up a lodge, the biggest piece of dry meat that one could make, because it exhibited character and it was a reflection on all our society, our culture.
Music:
Trick Song
Alexander Gwin
from WISDOM recording
And ah, during that time, there commenced a big celebration, dancing. Oh.
That one they call a Trick song. Necklace Breaker sometimes. Because they dance so hard.
Nico:
There are songs for teaching, for grieving, for making war and making romance. There is even a song for those who do not have a song of their own, like this one.
Music:
Honor Song
Alexander Gwin
from WISDOM recording
Gwin:
(recites the lyrics)
These Indian ways These are the ways that I love It’s me. And should there be an Indian gathering or celebration, Or Pow Wow, you might call it. You’ll find me amongst you, in the middle of you And the only thing that remains forever, or forever more Is our earth, the Mother. The earth is all that remains forevermore.”
Wind:
For Wisdom of the Elders, I’m Nico Wind.
Neskahi:
Tribal Rhythms is written by Milt and Jamie Lee, produced by Clark Salisbury and Larry Johnson, and hosted by Nico Wind.