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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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eyond <strong>the</strong> small hoop of <strong>the</strong> Lakota across <strong>the</strong> hoops of many<br />

nations, just as <strong>the</strong> Grandfa<strong>the</strong>rs had showed him it would. 35<br />

Sweet Medic<strong>in</strong>e Man was an ancient, traditional figure, and<br />

<strong>the</strong> dances, societies, laws, and truths he brought have become<br />

<strong>the</strong> traditional ways of <strong>the</strong> Cheyenne. Black Elk’s vision has had<br />

nei<strong>the</strong>r time nor appropriate circumstances to become embedded<br />

<strong>in</strong> a people’s way, but <strong>the</strong> processes of <strong>the</strong> transformation of<br />

vision <strong>in</strong>to thought and action are <strong>the</strong> same. Those processes<br />

<strong>the</strong>mselves are traditional <strong>in</strong> <strong>Indian</strong> America, as attested to <strong>in</strong> <strong>the</strong><br />

ethnographies and collections of such people as Ruth Underhill,<br />

Alice Marriott, James Mooney, Franz Boas, Natalie Curtis, Jack<br />

and Anna Kilpatrick, John Stands-<strong>in</strong>-Timber, Lame Deer, Paul<br />

Rad<strong>in</strong>, and so many more. <strong>The</strong>ir testimony is clear: <strong>the</strong> <strong>Indian</strong><br />

way <strong>in</strong>cludes ample room for vision translated <strong>in</strong>to mean<strong>in</strong>gful<br />

action and custom and thought, and it is because of <strong>the</strong> centrality<br />

of <strong>the</strong> vision to <strong>the</strong> life of <strong>the</strong> peoples of America that <strong>the</strong><br />

religious life of <strong>the</strong> tribe endures, even under <strong>the</strong> most adverse<br />

circumstances. Vision is a way of becom<strong>in</strong>g whole, of affirm<strong>in</strong>g<br />

one’s special place <strong>in</strong> <strong>the</strong> universe, and myth, song, and<br />

ceremony are ways of affirm<strong>in</strong>g vision’s place <strong>in</strong> <strong>the</strong> life of all<br />

<strong>the</strong> people. Thus it renews all: <strong>the</strong> visionary and his relatives<br />

and friends, even <strong>the</strong> generations long dead and those yet unborn.<br />

<strong>The</strong> vision, however, as vision, can be experienced only by<br />

one person directly. Yet it, like all aspects of <strong>Indian</strong> life, must be<br />

shared; thus myth. Myth is a story of a vision; it is a presentation<br />

of that vision told <strong>in</strong> terms of <strong>the</strong> vision’s symbols, characters,<br />

chronology, and import. It is a vehicle of transmission, of<br />

shar<strong>in</strong>g, of renewal, and as such plays an <strong>in</strong>tegral part <strong>in</strong> <strong>the</strong><br />

ongo<strong>in</strong>g psychic life of a people.<br />

In Love and Will, Rollo May recounts an experience he had<br />

with a Cézanne pa<strong>in</strong>t<strong>in</strong>g, contend<strong>in</strong>g that <strong>the</strong> pa<strong>in</strong>t<strong>in</strong>g was<br />

“mythic” because it encompassed “near and far, past, present<br />

and future, conscious and unconscious <strong>in</strong> one immediate totality

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