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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<strong>The</strong> changes Gunn has made <strong>in</strong> <strong>the</strong> narrative are not only<br />

changes <strong>in</strong> content; <strong>the</strong>y are structural as well. One useful social<br />

function of traditional tribal literature is its tendency to<br />

distribute value evenly among various elements, provid<strong>in</strong>g a<br />

model or pattern for egalitarian structur<strong>in</strong>g of society as well as<br />

literature. However, egalitarian structures <strong>in</strong> ei<strong>the</strong>r literature or<br />

society are not easily “read” by hierarchically <strong>in</strong>cl<strong>in</strong>ed<br />

westerners.<br />

Still, <strong>the</strong> tendency to equal distribution of value among all<br />

elements <strong>in</strong> a field, whe<strong>the</strong>r <strong>the</strong> field is social, spiritual, or<br />

aes<strong>the</strong>tic (and <strong>the</strong> dist<strong>in</strong>ction is moot when tribal materials are<br />

under discussion), is an <strong>in</strong>tegral part of tribal consciousness and<br />

is reflected <strong>in</strong> tribal social and aes<strong>the</strong>tic systems all over <strong>the</strong><br />

Americas. In this structural framework, no s<strong>in</strong>gle element is<br />

foregrounded, leav<strong>in</strong>g <strong>the</strong> o<strong>the</strong>rs to supply “background.” Thus,<br />

properly speak<strong>in</strong>g, <strong>the</strong>re are no heroes, no villa<strong>in</strong>s, no chorus, no<br />

sett<strong>in</strong>g (<strong>in</strong> <strong>the</strong> sense of <strong>in</strong>ert ground aga<strong>in</strong>st which dramas are<br />

played out). <strong>The</strong>re are no m<strong>in</strong>or characters, and foreground slips<br />

along from one focal po<strong>in</strong>t to ano<strong>the</strong>r until all <strong>the</strong> pert<strong>in</strong>ent<br />

elements <strong>in</strong> <strong>the</strong> ritual conversation have had <strong>the</strong>ir say.<br />

In tribal literatures, <strong>the</strong> tim<strong>in</strong>g of <strong>the</strong> foreground<strong>in</strong>g of various<br />

elements is dependent on <strong>the</strong> purpose <strong>the</strong> narrative is <strong>in</strong>tended to<br />

serve. Tribal art functions someth<strong>in</strong>g like a forest <strong>in</strong> which all<br />

elements coexist, where each is <strong>in</strong>tegral to <strong>the</strong> be<strong>in</strong>g of <strong>the</strong><br />

o<strong>the</strong>rs. Depend<strong>in</strong>g on <strong>the</strong> season, <strong>the</strong> <strong>in</strong>terplay of various life<br />

forms, <strong>the</strong> state of <strong>the</strong> overall biosphere and psychosphere, and<br />

<strong>the</strong> woman’s reason for be<strong>in</strong>g <strong>the</strong>re, certa<strong>in</strong> plants will leap <strong>in</strong>to<br />

focus on certa<strong>in</strong> occasions. For example, when tribal women on<br />

<strong>the</strong> eastern seaboard went out to ga<strong>the</strong>r sassafras, what <strong>the</strong>y<br />

noticed, what stood out sharply <strong>in</strong> <strong>the</strong>ir attention, were <strong>the</strong><br />

sassafras plants. But when <strong>the</strong>y went out to get maple sugar,<br />

maples became foregrounded. But <strong>the</strong> foreground<strong>in</strong>g of sassafras<br />

or maple <strong>in</strong> no way lessens <strong>the</strong> value of <strong>the</strong> o<strong>the</strong>r plants or o<strong>the</strong>r

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