This volume establishes the discipline of medical ethnomusicology and expresses its broad potential. It also is an expression of a wider paradigm shift of innovative thinking and collaboration that fully embraces both the health sciences and the healing arts.
Following a young boy who is listening to the stories of his mooshum (grandfather), Medicine Wheel: Stories of a Hoop Dancer encourages children to connect with the symbol and understand inclusion of all cultures by learning along with this young boy and his friends, who come from across the world to hear the story. Accompanied by vibrant illustrations, Medicine Wheel: Stories of a Hoop Dancer engages children and allows them to start relating to the world in new and exciting ways.
Cousins Lori and Lana, Lakota Indians who have a close but competitive relationship, learn about their heritage and culture throughout the year, and when a Laotian-Hmong girl comes to their school, they make friends with her and "adopt" her as one of their own.
Black Elk Speaks, the story of the Oglala Lakota visionary and healer Nicholas Black Elk (1863–1950) and his people during momentous twilight years of the nineteenth century, offers readers much more than a precious glimpse of a vanished time. Black Elk’s searing visions of the unity of humanity and Earth, conveyed by John G. Neihardt, have made this book a classic that crosses multiple genres. Whether appreciated as the poignant tale of a Lakota life, as a history of a Native nation, or as an enduring spiritual testament, Black Elk Speaks is unforgettable. Black Elk met the distinguished poet, writer, and critic John G. Neihardt in 1930 on the Pine Ridge Reservation in South Dakota and asked Neihardt to share his story with the world. Neihardt understood and conveyed Black Elk’s experiences in this powerful and inspirational message for all humankind. This complete edition features a new introduction by historian Philip J. Deloria and annotations of Black Elk’s story by renowned Lakota scholar Raymond J. DeMallie. Three essays by John G. Neihardt provide background on this landmark work along with pieces by Vine Deloria Jr., Raymond J. DeMallie, Alexis Petri, and Lori Utecht. Maps, original illustrations by Standing Bear, and a set of appendixes rounds out the edition.
"This monograph, the result of years of study and discussion with tribal elders, is an important addition to our knowledge of Native American sky-related traditions. It demonstrates that knowledge of star and sun watching practices is very much alive in some tribal contexts, despite centuries of acculturation and attempts by the dominant society to root out such 'pagan' sacred observances. It also provides important lessons for other tribal groups who wish to retain more of their traditional practices for their descendants" (p. iii).
Peel the Banana (with included music CD?see below) is arranged as a sequence of dances and singing games from many traditions that Paul Rosenberg has found to be popular during his years of leading school residencies, family dances and community celebrations. The book provides detailed instructions for each of the dances on the CD, as well as written music (with chords) for all of the tunes. It presents suggested age group (a number of the dances can be taught to children as young as three), formation and notes on each dance which might include background information, teaching tips or variations to make the dance accessible to less experienced or younger dancers. Also included are simple instructions on how to teach the waltz, a list of enrichment activities for the classroom (including a reading list for schoolchildren) and a glossary describing all the dance movements and terms used in the book. For the CD, George Wilson (fiddle, banjo, bass, guitar, percussive feet), Peter Davis (clarinet, guitar, piano, mandolin, pennywhistle) and Paul Rosenberg (recorder) provide wonderful dance-length music for the 20 dances. The collection includes American dances such as the singing square Marching Through Georgia and the Virginia Reel. Other countries represented through their dances are Russia (Sasha), Israel (Zemer Atik), Germany (Kinderpolka) and Denmark (Seven Jumps). There are also dances from Ireland, Belgium, Quebec, England, plus two African-American singing games. For most tracks Paul calls the dance the first two times through. Children are also included singing on several of the cuts.