10.06.2022 Views

The Sacred Hoop: Recovering the Feminine in American Indian Traditions

by Paula Gunn Allen

by Paula Gunn Allen

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hoop dance I was watch<strong>in</strong>g <strong>in</strong> my imag<strong>in</strong>ation when I wrote <strong>the</strong><br />

poem. <strong>The</strong> sky and water jo<strong>in</strong><strong>in</strong>g <strong>in</strong>to ra<strong>in</strong> clouds are<br />

characteristic of <strong>the</strong> time at home when <strong>the</strong> green corn dances<br />

are danced. “<strong>Hoop</strong> Dancer” is a render<strong>in</strong>g of my understand<strong>in</strong>g<br />

of <strong>the</strong> process by which one enters <strong>in</strong>to timelessness—that place<br />

where one is whole.<br />

Achronicity is <strong>the</strong> k<strong>in</strong>d of time <strong>in</strong> which <strong>the</strong> <strong>in</strong>dividual and <strong>the</strong><br />

universe are “tight.” <strong>The</strong> sense of time that <strong>the</strong> term refers to is<br />

not ignorant of <strong>the</strong> future any more than it is unconscious of <strong>the</strong><br />

past. It is a sense of time that connects pa<strong>in</strong> and praise through<br />

timely movement, knitt<strong>in</strong>g person and surround<strong>in</strong>gs <strong>in</strong>to one.<br />

Danc<strong>in</strong>g <strong>in</strong> <strong>the</strong> midst of turn<strong>in</strong>g, whirl<strong>in</strong>g hoops is a means of<br />

transcend<strong>in</strong>g <strong>the</strong> limits of chronological time and its<br />

traumatiz<strong>in</strong>g, disease-caus<strong>in</strong>g effects. Chronological time denies<br />

that an <strong>in</strong>dividual is one with <strong>the</strong> surround<strong>in</strong>gs. <strong>The</strong> hoop dancer<br />

dances with<strong>in</strong> what encircles him, demonstrat<strong>in</strong>g how <strong>the</strong> people<br />

live <strong>in</strong> motion with<strong>in</strong> <strong>the</strong> circl<strong>in</strong>g spirals of time and space. <strong>The</strong>y<br />

are no more limited than water and sky. At green corn dance<br />

time, water and sky come toge<strong>the</strong>r, <strong>in</strong> <strong>Indian</strong> time, to make ra<strong>in</strong>.<br />

While <strong>the</strong> time structur<strong>in</strong>g used <strong>in</strong> novels by <strong>American</strong> <strong>Indian</strong><br />

writers is a technical problem, it is also a factor <strong>in</strong> <strong>the</strong> ultimate<br />

significance of <strong>the</strong> book. It determ<strong>in</strong>es which k<strong>in</strong>d of<br />

consciousness will be reflected <strong>in</strong> <strong>the</strong> novel—western <strong>in</strong>dustrial<br />

consciousness or <strong>Indian</strong> consciousness. Momaday and Silko opt<br />

for <strong>Indian</strong> consciousness, but earlier novelists like D’Arcy<br />

McNickle and Mourn<strong>in</strong>g Dove chose western consciousness.<br />

One result of <strong>the</strong> earlier novelists’ choice is that <strong>the</strong>y wrote<br />

easily readable books. But <strong>the</strong> o<strong>the</strong>r consequence is that <strong>the</strong>y<br />

fur<strong>the</strong>red <strong>the</strong> stereotyp<strong>in</strong>g tendencies of <strong>American</strong> readers and<br />

made <strong>the</strong>ir version of <strong>Indian</strong>s conform to <strong>the</strong> version of those<br />

who see <strong>Indian</strong>s as dy<strong>in</strong>g victims of <strong>the</strong> white man’s world.<br />

I am suggest<strong>in</strong>g that <strong>the</strong>re is some sort of connection between<br />

colonization and chronological time. <strong>The</strong>re is a connection

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