Dancing With Our Ancestors

In this tender picture book, Sara Florence Davidson transports readers to the excitement of a potlatch in Hydaburg, Alaska—her last memory of dancing with her late brother. It feels like my brother and I have always known how to sing the songs and dance the dances of our Haida ancestors. Unlike our father, we were born after the laws that banned our cultural practices were changed. The potlatch ban did not exist during our time, so we grew up dancing and singing side by side. The invitations have been sent. The food has been prepared. The decorations have been hung. And now the day of the potlatch has finally arrived! Guests from all over come to witness this bittersweet but joyful celebration of Haida culture and community. Written by the creators of Potlatch as Pedagogy, this book brings the Sk'ad'a Principles to life through the art of Janine Gibbons.

Based on author Sara Florence Davidson’s childhood memories, this illustrated story captures the joy and adventure of a Haida fish camp. Every summer, a Haida girl and her family travel up the Yakoun River on Haida Gwaii, following the salmon. While their father fishes, the girl and her brother spend their time on the land playing and learning from Tsinii (Grandfather).

“Filled with enchantment and intrigue” (Toronto Star) and “a great choice for a book club” (The Huffington Post), Dragon Springs Road takes readers on an evocative journey a century in the past and half a world away. In early-twentieth-century Shanghai, an ancient imperial dynasty collapses, a new government struggles to life and two girls are bound together in a friendship that will be tested by duty, honour and love. Abandoned in the courtyard of a once-lavish estate outside Shanghai, seven-year-old Jialing learns she is zazhong—Eurasian—and thus doomed to face a lifetime of contempt from both Chinese and Europeans. The Yang family, new owners of the estate, reluctantly take her in as a servant. As Jialing grows up, her only allies are Anjuin, the eldest Yang daughter, and Fox, an animal spirit who has lived in the courtyard for more than three hundred years. But when a young English girl appears and befriends the lonely orphan—and then mysteriously vanishes—Jialing’s life takes an unexpected turn. As Jialang grows into womanhood during the tumultuous early years of the Chinese republic, she must find a way to survive political intrigue, jealousy, forbidden love and even murder. Through every turn she is guided, both by Fox and by her own strength of spirit, away from the shadows of her past toward a very different fate. “Rich with detail and a fascinating interplay between the spiritual and earthly realms, Chang’s second novel explores whether it is possible to overcome your past” (Booklist).

A young African-American girl goes to a Seminole powwow to dance with the descendents of the tribe who rescued her grandfather from slavery and accepted him as one of their own years before

“I am here. You will never be alone. We are dancing for you.” So begins Cutcha Risling Baldy’s deeply personal account of the revitalization of the women’s coming-of-age ceremony for the Hoopa Valley Tribe. At the end of the twentieth century, the tribe’s Flower Dance had not been fully practiced for decades. The women of the tribe, recognizing the critical importance of the tradition, undertook its revitalization using the memories of elders and medicine women and details found in museum archives, anthropological records, and oral histories. Deeply rooted in Indigenous knowledge, Risling Baldy brings us the voices of people transformed by cultural revitalization, including the accounts of young women who have participated in the Flower Dance. Using a framework of Native feminisms, she locates this revival within a broad context of decolonizing praxis and considers how this renaissance of women’s coming-of-age ceremonies confounds ethnographic depictions of Native women; challenges anthropological theories about menstruation, gender, and coming-of-age; and addresses gender inequality and gender violence within Native communities.

In 1884, the Canadian government enacted a ban on the potlatch, the foundational ceremony of the Haida people. The tradition, which determined social structure, transmitted cultural knowledge, and redistributed wealth, was seen as a cultural impediment to the government’s aim of assimilation. The tradition did not die, however; the knowledge of the ceremony was kept alive by the Elders through other events until the ban was lifted. In 1969, a potlatch was held. The occasion: the raising of a totem pole carved by Robert Davidson, the first the community had seen in close to 80 years. From then on, the community publicly reclaimed, from the Elders who remained to share it, the knowledge that has almost been lost. Sara Florence Davidson, Robert’s daughter, would become an educator. Over the course of her own education, she came to see how the traditions of the Haida practiced by her father—holistic, built on relationships, practical, and continuous—could be integrated into contemporary educational practices. From this realization came the roots for this book.

Takes a thorough look at the history and culture of the Anasazi, Hopi, Zuni, Acoma, Laguna, and Rio Grande Pueblo Indians

Dancing in Shadows explores the power of Indigenous performance pitted against the forces of settler colonisation. Historian Anna Haebich documents how the Nyungar people of Western Australia strategically and courageously adapted their rich performance culture to survive the catastrophe that engulfed them, and continue to generously share their culture, history, and language in theatre. In public corroborees, they performed their sovereignty to the colonists, and in community-only gatherings they danced and sang to bring forth resilience and spiritual healing. Pushed away by the colonists and denied their culture and lands, they continued to live and perform in the shadows over the years in combinations of the old and the new, including indigenised settler songs and dances. Nyungar people survived, and they now number around 40,000 people and constitute the largest Aboriginal nation in the Australian settler state. The ancient family lineages live in city suburbs and country towns, and they continue to perform to celebrate their ancestors and to strengthen community well-being by being together. Dancing in Shadows sheds light on the little-known history of Nyungar performance. [Subject: Theatre Studies, Sociology, History, Australian History, Aboriginal Studies]