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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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<strong>The</strong> pottery designed by women, as well as <strong>the</strong> belts, baskets,<br />

blankets, and beadwork, all exhibit a marked sense of<br />

abstraction. Sanchez, a daughter of one of <strong>the</strong> most adamantly<br />

matriarchal of <strong>the</strong> tribes, adheres to this sensibility. Her work is<br />

abstract <strong>in</strong> <strong>the</strong> extreme, demand<strong>in</strong>g careful thought and a welltra<strong>in</strong>ed<br />

ear. And while her cadences are not lyric <strong>in</strong> <strong>the</strong> western<br />

Romantic sense, <strong>the</strong>y are closely attuned to <strong>the</strong> rhythms of<br />

Pueblo dance. To understand her rhythms one must carefully<br />

study Pueblo music, especially <strong>the</strong> green-corn dances.<br />

Sanchez never questions her own identity; she knows that she<br />

is one of <strong>the</strong> people and that as such her obligation is to ma<strong>in</strong>ta<strong>in</strong><br />

a sense of traditional propriety. In an <strong>in</strong>terview I had with her,<br />

she specified this clearly, describ<strong>in</strong>g <strong>the</strong> organization of one of<br />

her manuscripts: “I want to unify [<strong>the</strong> book], to give it <strong>the</strong> sense<br />

of proper ritual. That’s what I am really concerned about do<strong>in</strong>g<br />

with <strong>the</strong>se poems, that <strong>the</strong>re is that proper order. That proper<br />

event tak<strong>in</strong>g place. That’s what <strong>Indian</strong>s have held on to. Even<br />

though <strong>the</strong>y’ve gotten urbanized and acculturated, and even<br />

assimilated, <strong>the</strong>y have held to those particular titles, or names of<br />

th<strong>in</strong>gs that become ceremony, that become ritual; that those<br />

directions, or whatever little fragment <strong>the</strong>y’ve got to hang on to,<br />

it orders. It gives proper order. It also gives a connect<strong>in</strong>g po<strong>in</strong>t<br />

to <strong>the</strong> spirit world. It is our bridge, our little rope bridge back<br />

<strong>in</strong>to tradition. And that I th<strong>in</strong>k will be handed on. And <strong>the</strong> idea, I<br />

th<strong>in</strong>k, is for us <strong>in</strong> a transition period to place that tradition <strong>in</strong> <strong>the</strong><br />

literary format so that it is comprehensible enough for <strong>Indian</strong>s to<br />

grab it. Because genetically we respond to it.” 14 She cont<strong>in</strong>ues<br />

this thought <strong>in</strong> reference to her artwork, which she says is also<br />

about “redef<strong>in</strong><strong>in</strong>g, re<strong>in</strong>terpret<strong>in</strong>g. As we become westernized, as<br />

we go <strong>in</strong>to that form of acculturation where we have been for a<br />

long time to probably total assimilation, <strong>the</strong>n aga<strong>in</strong> <strong>the</strong>re are<br />

those visual reference po<strong>in</strong>ts that ‘click.’ That kick you up. That<br />

startle your soul. That make you remember. Not <strong>the</strong> artifacts of a

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