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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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literature, <strong>in</strong> fact, is known only to educated, specialized persons<br />

who are privy to <strong>the</strong> philosophical, mystical, and literary wealth<br />

of <strong>the</strong>ir own tribe.<br />

Much of <strong>the</strong> literature that was <strong>in</strong> <strong>the</strong> keep<strong>in</strong>g of such persons,<br />

engraved perfectly and completely <strong>in</strong> <strong>the</strong>ir memories, was not<br />

known to most o<strong>the</strong>r men and women. Because of this, much<br />

literature has been lost as <strong>the</strong> last <strong>in</strong>itiates of particular tribes<br />

and societies with<strong>in</strong> <strong>the</strong> tribes died, leav<strong>in</strong>g no successors.<br />

Most important, traditional <strong>American</strong> <strong>Indian</strong> literature is not<br />

similar to western literature because <strong>the</strong> basic assumptions about<br />

<strong>the</strong> universe and, <strong>the</strong>refore, <strong>the</strong> basic reality experienced by<br />

tribal peoples and by Western peoples are not <strong>the</strong> same, even at<br />

<strong>the</strong> level of folklore. This difference has confused non-<strong>Indian</strong><br />

students for centuries. <strong>The</strong>y have been unable or unwill<strong>in</strong>g to<br />

accept this difference and to develop critical procedures to<br />

illum<strong>in</strong>ate <strong>the</strong> materials without trivializ<strong>in</strong>g or o<strong>the</strong>rwise<br />

<strong>in</strong>validat<strong>in</strong>g <strong>the</strong>m.<br />

For example, <strong>American</strong> <strong>Indian</strong> and Western literary traditions<br />

differ greatly <strong>in</strong> <strong>the</strong> assumed purposes <strong>the</strong>y serve. <strong>The</strong> purpose<br />

of traditional <strong>American</strong> <strong>Indian</strong> literature is never simply pure<br />

self-expression. <strong>The</strong> “private soul at any public wall” is a<br />

concept alien to <strong>American</strong> <strong>Indian</strong> thought. <strong>The</strong> tribes do not<br />

celebrate <strong>the</strong> <strong>in</strong>dividual’s ability to feel emotion, for <strong>the</strong>y<br />

assume that all people are able to do so. One’s emotions are<br />

one’s own; to suggest that o<strong>the</strong>rs should imitate <strong>the</strong>m is to<br />

impose on <strong>the</strong> personal <strong>in</strong>tegrity of o<strong>the</strong>rs. <strong>The</strong> tribes seek—<br />

through song, ceremony, legend, sacred stories (myths), and tales<br />

—to embody, articulate, and share reality, to br<strong>in</strong>g <strong>the</strong> isolated,<br />

private self <strong>in</strong>to harmony and balance with this reality, to<br />

verbalize <strong>the</strong> sense of <strong>the</strong> majesty and reverent mystery of all<br />

th<strong>in</strong>gs, and to actualize, <strong>in</strong> language, those truths that give to<br />

humanity its greatest significance and dignity. To a large extent,<br />

ceremonial literature serves to redirect private emotion and

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