Paiute Indian Tribe of Utah

• Home
• About
• Bands
• Tribal Member Services
• Economic Development
• Contact
• Site Map
• News

Paiute Indian Culture: Dancing

Pow-Wow
Dancing
Culturally Significant Plants
The Legend of the Dream Catcher

Southern Straight Dance
A Southern Tribe's dance is known to some as the "Gentleman's Dance." The Straight Dance tells a story of a hunting or war party on the trail of an animal or enemy. Many older Native Americans are Straight Dancers. In their motions and gestures, the men mime hunting for their prey or enemy. The hunter gives an ebullient whoop when the trail is sighted. The Straight Dancer's regalia is topped with a porcupine roach. His breechcloth and leggings are edged with ribbon work and/or beadwork. An otter trailer extending from the neck to ground is edged with ribbons or decorated with beadwork or scarves, supporting the silver conchos of graduated beaded rosettes. Two large macaw or eagle feathers are attached under each rosette. The music may be centuries old classics or it may be composed especially for the dance offering, (a special challenge to the dancers' interpretive art). They must listen closely to the singers to maintain the correct interpretive mood and to end on time.

Traditional Dance
The Traditional Dance has been passed down for centuries by the Northern Tribes. The dance originated in a time when war parties customarily would return to their village and "dance out" the full story of a battle for those who had not been there or returning hunters would dance their tale of tracking an enemy or prey. The dancer dances the spirit of battles and hunts, lost in time but kept alive in the tradition of the dance. The outfits or regalia of traditional dancers are more subdued in color than other dancers. Leather and feathers are the main features of the regalia, which is frequently decorated with beadwork and the quills of a porcupine and which includes a circular bustle of eagle feathers. These dancers are often veterans and may carry many items that symbolize their status as warriors. Everyone should stand and men should remove their head coverings during this dance (unless it has an eagle feather) out of respect to the dancers and the eagle feathers they wear. The dancer's movements may reflect the spirit of the animal from which part of' the regalia is made. Paint adorns the dancer's face in patterns designed to create an impression of ferocity. Paint is private and sacred.

Men's Fancy Dance Or Fancy Bustle or War Dance
These dancers are noted for their fast footwork, athletic ability and originality. The rapid and complex movement of the dancer during the fancy dance provided a test of endurance and stamina. During competition events this endurance figures highly with the judges. The evolution of the War Dance has served as a vehicle for modem Native Americans to allow contact with the deepest and most significant realms of their cultural heritage. The regalia, which is an integral part of the dance, has changed over time to incorporate more color and an elaborate style of ribbon work, beadwork, horsehair and other items. The large double bustles of brilliant colored feathers distinguish these dancers from other types. The headdress is topped with one or two feathers, which are mounted on a rocker base to allow movement in concert with the beat of the drum. Each dancer's style is an individual expression of the emotion contained in the music, It is displayed through the fluidity of his body motions and his ability to follow the beat of the drum. As the dancer follows the rhythm of the drum with his steps, the motion of his head and the flow of his body are important elements. Steps are individualistic and must be able to change pace from slow to fast tempo. Once the singing starts, the dancer must not stop until the song has finished and must stop at the same time as the final beat of the drum. The dancer must be familiar with the songs. In a contest he is not allowed to stop one drumbeat too soon or too late.

Men's Grass Dance
The Grass Dance is regarded as one ct the most ancient of the dances, representing three tribal origins: prairie grasses, victory and a way to flatten the grasses for camping. In addition to these three, some say that grass dancing began when dancers danced to flatten out the long prairie grasses in preparation for a ceremony. Borrowed from the Omaha Tribe, the grass dance is very popular today. The regalia is decorated with an abundance of fringes of long colorful yarns and ribbons. Fringes are made to sway gracefully to the rhythm and movement of the dancer's body. It suggests the grass moving to a soft, gentle breeze as it blows across the plains in time to the music. Many dancers wear their hair roach, the crow belt and the eagle bone whistle, originally emblems of the Omaha Society. Dancers are expected to keep their heads moving. The purpose of the movement is to keep the roach crest feathers spinning. To keep the feathers moving constantly is one sign of a good dancer. The basic step of the Grass Dance involves tapping the ball of one foot on the I-beat and putting it down flat with the next beat; then repeating the step with the opposite foot without missing a beat. Each time the foot is placed flat on the ground, the weigh shifts to that foot. Although the dance is a freestyle type of dance, dancers must follow the changing beat of the drum and stop on time with the music, with both feet on the ground.

Women's Traditional Northern and Southern Dance
Originating with the Northern Tribes, this dance has spread to the Southern Tribes as well. However, each area has maintained its own style and rhythm. The ladies dancing Northern Style stay in one place and bounce lightly and gracefully to the rapid beat of the drum. The Southern Style is slower and similar to the Ladies' Southern Cloth Style is slower and similar to the Ladies' Southern Cloth Dance. The long buckskin fringes sway even more in than the Cloth Dance and this has become a major point in judging. In mid- 1800's, when beads were acquired through trade, the accepted style for the Women's Traditional Dance outfit was to bead the entire top of a buckskin dress, in addition to colored trade cloth and decorated beaded moccasins, knee high leggings, beaded belt or concho belt. Some traditional dancers carry an Eagle or hawk feather fan or a single feather. At a given time during the song, the dancer will use her fan to salute the drum in such an eloquent manner as to create, in beautiful expression, the catching of the spirit of the drum.

Women's Southern Cloth Dance
The ladies' Southern Cloth Dancers' regal postures, gentle swaying of their shawls and slow graceful walk bring their style to the dance, which perfectly compliments the Men's Southern Straight Dance. The handmade buckskin leggings, beadwork and intricate ribbon designs come together to display a beautiful outfit unique to each individual tribe. The contest is judged on the ability to stay in time with the drum and to create a sway with the shawl, but most importantly, to stop in time with the drum.

Fancy Shawl Dance
A comparatively recent addition to powwow dance competition, this dance offers young ladies the opportunity to celebrate powwow feeling. Until recent years, women would perform fancy dance steps in traditional garb. In the early 1900's, shawls replaced traditionally wore in public. The steps are festive, rapid and extremely intricate. The long-fringed shawl swirls and makes elaborate patterns in the air as the dancer moves to the beat of the drum. The shawl, yolk and dress are adorned with elaborate designs and colorful beadwork. Each dancer can express her individuality in the style of movements and dress. The shawl is most important when worn over the shoulders; it is held out as the dancer steps and twirls. The legend behind the shawl dance is of a butterfly that lost her mate in battle. Grieving, she went into her cocoon (shawl) and traveled the world, stepping on each stone until she found beauty in one and was able to begin her life anew. The dancer should be graceful, using intricate patterns of dance steps and should move around the entire arena circle. As with the Men's Fancy Dance, it is important for the dancer to end the dance precisely when the drum beat stops.

Jingle Dress Dance
This dance originated from the Ojibway Nation. The dress is made of cloth and hundreds of rolled metal cones (jingles) sewed on to it in various patterns. Today, it has sparked the interest of young women and rekindled the interest of those who used to wear jingles. Ms. Florence Seaboy, a White Earth Chippewa, was given a Jingle Dress when she was ten years old. She was told by her grandparents that it originated from a dream and that it has also been known to be a healing dress for a sick child. Instructions were given in the dream on how to construct the dress. The Jingle Dress today is in great demand and the dance's popularity is spreading among all tribes across the U.S. and Canada. Pride and grace are required in the attitude of the dancers. Jingle Dress Dancers must keep their jingle moving in time to the music and it is important for the dancers to stop in time with the drum beat, with both feet on the ground.