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The Sacred Hoop: Recovering the Feminine in American Indian Traditions

by Paula Gunn Allen

by Paula Gunn Allen

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particular talent that human be<strong>in</strong>gs possess to greater or lesser<br />

degree, and medic<strong>in</strong>e is a term used for <strong>the</strong> personal force<br />

through which one possesses power. Medic<strong>in</strong>e is powerful <strong>in</strong><br />

itself, but its power can be used only by certa<strong>in</strong> persons, under<br />

certa<strong>in</strong> conditions, and for certa<strong>in</strong> purposes.<br />

Ceremonial literature is sacred; it has power. It frequently<br />

uses language of its own: archaisms, “mean<strong>in</strong>gless” words, or<br />

special words that are not used <strong>in</strong> everyday conversation. It can<br />

be divided <strong>in</strong>to several subcategories, some of which appear <strong>in</strong><br />

some tribes but not <strong>in</strong> o<strong>the</strong>rs, and o<strong>the</strong>rs that can be found<br />

throughout <strong>Indian</strong> America. Ceremonial literature <strong>in</strong>cludes songs<br />

for many occasions: heal<strong>in</strong>g; <strong>in</strong>itiation; plant<strong>in</strong>g, harvest<strong>in</strong>g, and<br />

o<strong>the</strong>r agricultural pursuits; hunt<strong>in</strong>g; bless<strong>in</strong>g new houses,<br />

journeys, and undertak<strong>in</strong>gs. <strong>The</strong>re are also dream-related songs;<br />

war songs; personal power songs; songs for food preparation,<br />

purification, and vision seek<strong>in</strong>g. <strong>The</strong> subjects of <strong>the</strong> major<br />

ceremonial cycles <strong>in</strong>clude orig<strong>in</strong> and creation, migration,<br />

celebration of new laws, and commemoration of legendary or<br />

mythic occurrences. Each serves to hold <strong>the</strong> society toge<strong>the</strong>r,<br />

create harmony, restore balance, ensure prosperity and unity, and<br />

establish right relations with<strong>in</strong> <strong>the</strong> social and natural world. At<br />

base <strong>the</strong> ceremonials restore <strong>the</strong> psychic unity of <strong>the</strong> people,<br />

reaffirm <strong>the</strong> terms of <strong>the</strong>ir existence <strong>in</strong> <strong>the</strong> universe, and validate<br />

<strong>the</strong>ir sense of reality, order, and propriety. <strong>The</strong> most central of<br />

<strong>the</strong>se perform this function at levels that are far more <strong>in</strong>tense<br />

than o<strong>the</strong>rs, and <strong>the</strong>se great ceremonies, more than any s<strong>in</strong>gle<br />

phenomenon, dist<strong>in</strong>guish one tribe from ano<strong>the</strong>r.<br />

Every tribe has a responsibility to <strong>the</strong> work<strong>in</strong>gs of <strong>the</strong><br />

universe; today as yesterday, human be<strong>in</strong>gs play an <strong>in</strong>tr<strong>in</strong>sic role<br />

<strong>in</strong> <strong>the</strong> ongo<strong>in</strong>g creation. This role is largely determ<strong>in</strong>ed by <strong>the</strong><br />

place where <strong>the</strong> tribe lives, and <strong>the</strong> role changes when <strong>the</strong> tribe<br />

moves. In <strong>the</strong> Southwest, for example, <strong>the</strong> Zuñi dance Shalako<br />

every w<strong>in</strong>ter at <strong>the</strong> solstice so that <strong>the</strong> sun will turn <strong>in</strong> its course

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