Folk Arts Connect Beyond Culture
Intro to the Series
Recently I received the gift of going to the Eric Clapton’s “Life is a Carnival: A Musical Celebration” concert with Van Morrison, Bobbie Weir of the Grateful Dead, and many more stars. The concert was dedicated to the late singer and songwriter Robbie Robertson, who worked with “The Band” and solo.
Long black crane cameras scanned over the audience as Martin Scorsese filmed the event. My friend and I heard a rumbling hum of excited conversation from the crowd as we waited for the show to begin.
When the lights dimmed in the Kia Forum in Inglewood, California, on stage there was no Eric Clapton There were no opening acts of famous musicians, of which there were many.
A Native American man wearing a simple white feather headdress stood at the mic and began to chant. A woman stood beside him, fanning him slowly with white feathers.
The melody was so harmonious and lyrical. It was like walking with a friend by a stream that was gurgling gently.
Though I would love to have a recording of the chant, which I learned was sung by Verdell Primeaux with Zee Wilson, here is a recording of Verdell Primeaux called “Healing Song One.”
On a huge screen Robbie Robertson appeared speaking about his early life. His mother, he said, was Native American. He felt drawn like a magnet to the music and dance he experienced on his visits to the reservation.
The screen showed Native people dancing in a circle, chanting in the background. “At night, the musical instruments came out,” Robbie said. Drummers appeared on the screen, lit by a small campfire, under the rarified night sky. Robbie was enchanted by these experiences. He told us on the video that this music and dance stirred him and inspired his music.
After the concert, my friend and I spoke about our few favorite performances of the many talented and famous musicians who played and sang that night. Several days later another favorite stood out to us. It remained in our memories. It was the beautiful Native American chant of Verdell Primeax at the beginning, midst all the famed performers. My friend also appreciated the presence of Zee Wilson, the woman who fanned Verdell Primeax with feathers.
Isn’t this a perfect time, with chaos in the world, to take part in the stream of calm, sacred wisdom, and grounded arts of Native peoples?
Our dance is “choreographed prayer.” – Kevin Locke, Lakota Hoop Dancer, Story-teller
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In the next parts of the series, I will highlight the hoop dance Robbie Robertson might have seen on the reservation, Native Wisdom and how it relates to our times, The Balm of Native Women’s Chants, Reverence, and Native Grounding. Lakota Kevin Locke’s voice will weave through the series.
You can find my other recent articles about National Native American Heritage Month at the following links: “Native American Heritage Month Helps Spirits Soar” on Substack, and “Native American Heritage Month: We all have a place in this design,” a piece with more personal reflections, on Medium.com.
<a href=”https://unsplash.com/@brettwharton?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash”>Brett Wharton</a> on <a href=”https://unsplash.com/photos/a-statue-of-a-person-riding-a-horse-8ElldOXnoho?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash”>UnsplashPhoto by Brett Wharton on Unsplash from the Museum of Fine Art, Boston, massachusetts
INative American Heritage Month
“We all have a place in this design”medium.com
Native Ameican Heritage Month – Government Site
This article was written by Claudia S. Gold AKA Penofgold, who lives on the ancestral land of the Hahamog’na people of the Tongva tribe of the Arroyo Seco.
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