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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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unquestioned power of such magnitude, attempts at total<br />

conquest of <strong>the</strong> cont<strong>in</strong>ents were bound to fail. In <strong>the</strong> centuries<br />

s<strong>in</strong>ce <strong>the</strong> first attempts at colonization <strong>in</strong> <strong>the</strong> early 1500s, <strong>the</strong><br />

<strong>in</strong>vaders have exerted every effort to remove <strong>Indian</strong> women from<br />

every position of authority, to obliterate all records perta<strong>in</strong><strong>in</strong>g to<br />

gynocratic social systems, and to ensure that no <strong>American</strong> and<br />

few <strong>American</strong> <strong>Indian</strong>s would remember that gynocracy was <strong>the</strong><br />

primary social order of <strong>Indian</strong> America prior to 1800.<br />

But colonial attempts at cultural gynocide notwithstand<strong>in</strong>g,<br />

<strong>the</strong>re were and are gynocracies—that is, woman-centered tribal<br />

societies <strong>in</strong> which matrilocality, matrifocality, matril<strong>in</strong>earity,<br />

maternal control of household goods and resources, and female<br />

deities of <strong>the</strong> magnitude of <strong>the</strong> Christian God were and are<br />

present and active features of traditional tribal life.<br />

5. <strong>The</strong>re is such a th<strong>in</strong>g as <strong>American</strong> <strong>Indian</strong> literature, and it<br />

can be divided <strong>in</strong>to several <strong>in</strong>terlock<strong>in</strong>g categories. <strong>The</strong> major<br />

divisions are traditional literature and genre literature of <strong>the</strong><br />

present. Traditional literature can be fur<strong>the</strong>r divided <strong>in</strong>to<br />

ceremonial and popular varieties—that is, <strong>in</strong>to canonical works<br />

and those that derive from <strong>the</strong> canon but that are widely told and<br />

appeal to audiences ga<strong>the</strong>red on social occasions. Contemporary<br />

works, or genre literature, can be divided <strong>in</strong>to <strong>the</strong> classic<br />

western categories of poetry, short fiction, <strong>the</strong> novel, and drama,<br />

with <strong>the</strong> addition of autobiography, as-told-to narrative, and<br />

mixed genre works. Structural and <strong>the</strong>matic elements from <strong>the</strong><br />

oral tradition, usually from <strong>the</strong> writer’s own tribe, always show<br />

up <strong>in</strong> contemporary works by <strong>American</strong> <strong>Indian</strong>s, and elements<br />

from contemporary, non-<strong>Indian</strong> works sometimes show up <strong>in</strong><br />

contemporaneous tribal social literature.<br />

Native <strong>American</strong> literature should be important to <strong>American</strong>s<br />

not as a curio, an artifact of <strong>the</strong> <strong>American</strong> past that has little<br />

pert<strong>in</strong>ence to an <strong>American</strong> present or future, but ra<strong>the</strong>r as a<br />

major tradition that <strong>in</strong>forms <strong>American</strong> writers rang<strong>in</strong>g from

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