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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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transformative process engenders <strong>the</strong> ritual cycle of dy<strong>in</strong>g, birth,<br />

growth, ripen<strong>in</strong>g, dy<strong>in</strong>g, and rebirth. In <strong>the</strong> transformation from<br />

one state to ano<strong>the</strong>r, <strong>the</strong> prior state or condition must cease to<br />

exist. It must die.<br />

Ritual-based cultures are founded on <strong>the</strong> primary assumption<br />

that <strong>the</strong> universe is alive and that it is supernaturally ordered.<br />

That is, <strong>the</strong>y do not perceive economic, social, or political<br />

elements as central; ra<strong>the</strong>r, <strong>the</strong>y organize <strong>the</strong>ir lives around a<br />

sacred, metaphysical pr<strong>in</strong>ciple. If <strong>the</strong>y see a cause-and-effect<br />

relationship between events, <strong>the</strong>y would ascribe <strong>the</strong> cause to <strong>the</strong><br />

operation of nonmaterial energies or forces. <strong>The</strong>y perceive <strong>the</strong><br />

universe not as bl<strong>in</strong>d or mechanical, but as aware and organic.<br />

Thus ritual—organized activity that strives to manipulate or<br />

direct nonmaterial energies toward some larger goal—forms <strong>the</strong><br />

foundation of tribal culture. It is also <strong>the</strong> basis of cultural<br />

artifacts such as crafts, agriculture, hunt<strong>in</strong>g, architecture, art,<br />

music, and literature. <strong>The</strong>se all take shape and authority from <strong>the</strong><br />

ritual tradition. Literature, which <strong>in</strong>cludes ceremony, myth, tale,<br />

and song, is <strong>the</strong> primary mode of <strong>the</strong> ritual tradition. <strong>The</strong> tribal<br />

rituals necessarily <strong>in</strong>clude a verbal element, and contemporary<br />

novelists draw from that verbal aspect <strong>in</strong> <strong>the</strong>ir work.<br />

Western fiction, <strong>in</strong> contrast, is based on nonsacred aes<strong>the</strong>tic<br />

and <strong>in</strong>tellectual precepts such as <strong>the</strong> importance of <strong>the</strong> unities of<br />

time, place, and action, and it is structured to create <strong>the</strong> illusion<br />

of change <strong>in</strong> <strong>the</strong> characters occurr<strong>in</strong>g over a period of time as a<br />

result of conflict and crisis. Myth criticism to <strong>the</strong> contrary,<br />

western novels are not ritual-based; that is, although <strong>the</strong>y might<br />

<strong>in</strong>corporate elements drawn from ritual-based cultures such as<br />

those of pre-Christian England or ancient Greece, those<br />

borrow<strong>in</strong>gs are <strong>in</strong>tellectual, aes<strong>the</strong>tic, or allusive. Indeed, critics<br />

of <strong>the</strong> 1970s and 1980s question whe<strong>the</strong>r rituals on which<br />

certa<strong>in</strong> plots, such as that of <strong>the</strong> dy<strong>in</strong>g k<strong>in</strong>g, are based ever <strong>in</strong><br />

fact existed. 3 Such questions are not germane to Native

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