Culture Intel

What if you were the last person on earth that knew one special tradition? What would you do?  Would you have the courage to speak up and take a stand or would you step aside and let it die?

I know someone who had to make that decision and is spending his life standing for a tradition that no longer exists anywhere on the planet. That person is Kevin Locke and the tradition is the Dakota/Lakota flute. Kevin is committed to ensure that the Dakota flute tradition will flourish for future generations. Listen here for a sample of Kevin’s talent.

Kevin is a hoop dancer and award winning indigenous flutist who has traveled to over 93 countries as a cultural ambassador of Dakota traditions. He has a vision called the First Flute to educate students on the traditional finger patterns and musicology of the Dakota flute. Kevin is a national treasure who serves as an example by tirelessly working to keep a global treasure alive for all of us.

He is a master traditional artist who has made major contributions to preserve the traditions and cultural diversity of the United States. Specifically he has taken the time to meet with elder flutists when he was young to learn the songs, record them, perform them across the planet and is now taking the next step of preservation.

So what is the first flute and what is Kevin’s vision for preservation?

Kevin, what is the first flute?

It is the title of a workshop I created that emphasizes the universality of the flute. Wherever you go on the planet, everyone has one. I also share a definition on my website.

What is your vision of sharing indigenous flute music in America?

The flute is a great entre. The American Indian musical esthetic is so unknown in the world, especially the US and so we can use the flute to educate people.

So what do you do in schools with the first flute?

Students can make their own flutes so they can internalize and familiarize themselves with a type of music that otherwise they might see as foreign or exotic. They also then take ownership. Students learn the notes and the Indian musical scale and then move on to basic melodies. Soon they can play any style song. The first flute program builds capacity and to play authentic indigenous songs in concerts.

Recently, Kevin brought the First Flute program to Eden Prairie High School in Minnesota. It is a Minneapolis suburban high school with about 3,000 students, 35% of which are students of color and .06% are native. The school created an opportunity to test the first flute project to great success. At first glance, one might think that that type of school would not fit the profile of teaching students indigenous music. Also, we might believe that indigenous music only for native people only and should only go to the native schools. Actually both are important and need to be nurtured. Let’s find out why.

The benefit for non-native students is to learn an authentic musical style is that it interrupts stereotypes they may hold about indigenous people and opens them to a whole new world of music.

The benefit for native students is that they also learn about a tradition that has been lost to them and it is a vehicle for them to connect to their native language. Specifically in the case of The First Flute curriculum, students learn the Lakota language through playing the flute. It is an ingenious method of revitalizing the Lakota language.

School music programs all across the country play music that is cited as “Native American” music and teachers, rightfully so, believe them to be authentic. They look professional, printed in a book or a website and state it is a native song. Many however, are composed by European American composers “inspired” by native music like the “Ojibwe Love Song” and the like.  They are not authentic. The first flute project counteracts that use by providing authentic curriculum and music for schools.

Kevin, what is your biggest take away for this project at Eden Prairie?

The main thing is how much interest the students had for playing the flute and then to realize there is no limit to what they can learn.

What are your next steps?

First I need to finalize the curriculum. There is also interest in sharing Dakota songs for school choirs. My main goal is to continue to use the First Flute as a springboard for keeping indigenous music alive and well.

Thank you Kevin for taking the time to share with us. Also, for opening our hearts and minds to how we can from you to be a steward of our great cultural resources such as the indigenous flute. The First Flute at Eden Prairie High School is an example of many cultures coming together in a common love of the flute. It is important to make indigenous music to be at the forefront of American music because it is the first music of this country. Why shouldn’t everyone take pride in the beautiful cultures that make up America?

One of the most misunderstood parts of American history is American Indian treaties. K-12 lessons about them range from a cursory explanation to absence. Common themes about them are that they no longer exist or that they are broken. There isn’t a consistent practice across the country or a common curriculum that would help teachers teach accurate content about treaties and sovereignty.

Thankfully, a visionary partnership of organizations and committed individuals decided to change the treaty narrative.  In August 2010, a Minnesota partnership created an exhibit called Why Treaties Matter, which educates us about the treaties between the US government and the Ojibwe and Dakota nations. The Minnesota Indian Affairs Council (MIAC) partnered with the Minnesota Humanities Center and the Smithsonian Institution’s National Museum of the American Indian (NMAI) with Minnesota Legacy funds to create the Why Treaties Matter exhibit. It has traveled to over 40 different organizations, schools and colleges and universities.

As a result of the exhibit, my perceptions have moved from a cynical “well the treaties are broken and not much can be done” perspective to a more realistic view of “the treaties are living documents and native people are exercising their rights under treaty law.” The exhibit taught me that treaties are legal documents and they will continue to exist as such. According to the Constitution of the United States, Article VI, Clause 2 (also known as the Supremacy Clause) treaties are the laws of the land. Dakota and Ojibwe people have inherent legal rights to exercise key pieces of the treaties like the right to an education, hunt, fish and gather on treaty land.

So what about the students? How has this partnership transformed their learning about treaties? Last year the Minnesota collaboration added a new partner, Eden Prairie Schools. The district had an opportunity to not only host the exhibit but pilot curriculum related to the exhibit. It was a chance for teachers to have more content knowledge in the form of educator guides they could share with their students. This was content not readily available to them in conventional history textbooks or other curriculum. The pilot was so successful that an opportunity for more curriculum testing is underway.

This month, Annamarie Hill, Executive Director of the MIAC, and Eden Prairie High School Social Studies teacher Mark Bray are bringing the Why Treaties Matter exhibit and curriculum back to the high school students.

Annamarie Hill, Mark Bray, Maia Caldwell, Nanette Missaghi

How do we start to appreciate and understand that treaties still matter and impact all of us?  Annamarie and Mark share their insights about this process.

Annamarie Hill Interview

Annamarie, why do treaties still matter and why should we care?

Treaties are the law of the land. They show from the beginning how we transferred the land from indigenous control to the United States. They tell the story of how we got here and became the United States. How Minnesota became Minnesota. The treaties are obligations and they are living, breathing documents.

Why did you create this exhibit and want to work with schools?

We had the opportunity of funding and we had many needs. Of all the needs and issues, education rose to the top for me from what I learned from our tribal leaders, educators, legislators and community. We wanted to create something for the community. If we could be educated around indigenous issues, we could solve many problems and change beliefs about the treaties. We wanted to address the basic laws of our land and show when our legal relationship began. If we are not educated, what can we do?

What are the major myths about Dakota and Ojibwe treaties that your average American has about them?

The myth is that both nations are identical and we are the same tribe and people. Everyone thinks we are the same. The other common myth is that we always fought and were constantly warring with each other. Actually there were a lot of good relations between both nations.

What are the key pieces of knowledge we need to know about treaties in the 2st century?

Treaties are still living and breathing documents that are still in effect today. They are the laws that govern our land. Treaties still matter today and into the future.

Mark Bray Interview

Mark, why do treaties still matter today and why should we care?
The Constitution is the supreme law of the land. It is what is in our hearts and minds and I personally think it is the right thing to understand that we made these promises as a nation. Even though we have dishonored the promises, we can fulfill them today. Honoring treaties is one way we can redeem ourselves. I should also add that understanding treaties makes us to be more effective citizens and they work for all students and honors our first people.

How do your students benefit from learning about the treaties?
Overall, 97% of the students who studied the treaties found them very worthwhile. Students have said viewing the exhibit is a moving and powerful experience and transforms them. In fact, one white student said that he never knew or realized what treaties were, what they mean, or what his connection is to them locally. He feels he has a more sense of place in his community as a result of learning about them in his classroom.  He really appreciates the cultural points he learned about the Native Americans of Minnesota.

What insights have they shared with you?
A common thread was that students were able to make a connection to the first people’s history in Minnesota by equating what they were learning in the classroom to the treaty panels. The panel experience was a new way of learning and covering information that has not been available before. This material is often overlooked or forgotten in the textbooks. Many said they had never learned about them before or how much they and native people affect the state government. They believe they are learning important information now.

What were the misconceptions?
The treaty exhibit brought out the myths and stereotypes that some of the students believed about Native Americans and treaties. Through our work, we are correcting those misconceptions. This is a human rights issue. If we don’t honor these treaties, any group will become marginalized. Another myth is that we are islands and that we can’t cross culturally to each to other. Like native students learning to sing opera or a white student learning to bead.

Conclusion
The impact of this work is threefold. The first is that when our students have difficult and controversial conversations about treaties with their families, friends and co-workers they will know why things are done the way there are when native people exercise their rights. Second, the pilot idea has spread to another school district in Walker, Minnesota. They will start a pilot this month. Lastly, the exhibit and pilot has provided an opportunity for interracial conversations between students, staff and community that break down the beliefs we have held for too long about treaties and indigenous nations. These new relationships will never be forgotten.

This last week’s post Can Anyone Own Culture Today? generated a lot of questions and comments. A few people were concerned that I was saying that a Mexican can’t perform a German opera or a German can’t learn how to make enchiladas and open a restaurant.  This is what happens. As a commenter pointed out:  “we all humans love to learn”. Isn’t learning the same thing as cultural cut and paste? People do learn new things from other cultures like food preparation, customs and practices and use them in their life. The issue is how we do it. Do we do it with respect and authenticity or not? So what is the difference between learning and cultural cutting and pasting? What I mean by cultural cut and paste is that the learning goes to the next step. The next step is the cutting of that learning from the original culture and pasting or integrating the learning into one’s cultural every day. The difference between learning and the cultural cut and paste process is the application feature. Cultural cut and paste is the application or action step that a human takes to apply what was learned. Sometimes we learn something from another culture while on a trip or going to someone’s house and we don’t have any interest in using it at home. If we decide to do it, the issue is how to apply the learning in a respectful and authentic way.

Cultural Cut and Paste Process

Upon reflection this past week, I decided there is another component to this process. It is the added dimension of “copy”. Sometime we copy something from another culture much like we copy text from one document to another. When we copy text, we leave the original text intact. Much like when we copy something from another culture, the original culture stays intact. Or does it? Let’s take a dominant culture encountering an indigenous culture for example. One cannot guarantee that when a dominant culture copies something from an indigenous culture that the original piece stays intake. I believe there are times that the way the dominant culture messages the copy and uses it could alter the original. This is a cautionary tale to consider as dominant cultures across the globe have interacted with indigenous cultures and continue to do so. All cultures are like precious natural resources and should be protected from materialistic decimation.  As stated in the previous post, we have a collective responsibility.

Cultural Copy and Paste Process

In the context of a dominant culture, a corporation or an individual attempting to take or own another culture provides the context for why both (learning and respectful cut/copy and paste) are important. We are moving towards increased multiracial and intercultural interactions which behoove us to figure out how to apply our new learning in a meaningful and authentic way.

Another question that came up is: How do I know if I am ripping off another culture? So much of what we do is cultural cut/copy and paste. What if I am inspired by the fashion, music or something from another culture? Can I just take it and use it without giving credit? An example is what I noticed in the southwest during my last visit. Local Dine artists created and sold their silversmith turquoise jewelry to tourists at a price they thought was fair and market bearing. A quick trip to a nearby city or town off the rez showcased similar jewelry made by non-native artists who sold their work at quadruple the price of what the Dine used. This is an example of ripping off another culture for personal gain.

My last post featured insights from Kevin Locke, award winning Dakota flutist and hoop dancer. Readers had more questions and were interested in carrying on the conversation with him. So we are blessed to be able to ask him a few more questions.

Kevin Locke Interview

Thank you Kevin for sharing your perspective last week on the cultural misappropriation of the Dakota flute and that no one can own a culture. My readers are interested in what to do when they want to apply their learning and do a respectful copy and paste process. You have interacted with so many diverse peoples, what advice would you give to individuals or businesses who want to be authentic?

We have to shift our perspective from a material one to a spiritual one where we believe that we are all legitimate heirs to humanity’s cultural wealth. I believe that everyone has the right to achieve one’s destiny.

An example I can share is that a person can learn something from another culture in an authentic way. For instance, right now I am teaching a class on the Dakota flute for teachers to get trained on the authentic way of Dakota flute playing. We did a whole section on the indigenous American flute. The flute playing is so unique compared to the European classical style. It is unique in that the individual ornamentation of playing like the grace notes of vibrato, creating breath sounds, and the like, is individual to the flutist. Their individual style would be inspired by the song birds of their locality. So teachers are learning the Dakota foundations and origins in an authentic way.

How do you think people could handle the permission aspect when someone may feel awkward or don’t know anyone from the new culture they have learned to love and want to copy something?

This is a sensitive issue and the answer depends on the community. For example, the Meskwaki from Iowa, until recently, did not want their language written down. Some Lakota still feel that way today. The onus is on us to reach out to others and be respectful and authentic. I believe that it is our youth who have the great opportunity to achieve the goals of being respectful to everyone from other cultures.

Kevin, you have made me think. What about something that comes from one culture and becomes main stream in an inauthentic or false way into the dominant culture? The Dakota flute is a great example of a dominant culture copy and paste. You explained that a European way of playing the Dakota flute has spread across the globe and become main stream.  Now that we know this, what could a lover of the flute do to rectify their inauthentic cultural copy and paste?

This is an opportunity to pause and reflect. Once a person knows, they can introduce themselves to the underpinnings and indigenous foundation of the Dakota flute.

Thank you Kevin for your insights! We should take the time to reflect on our practice.

My main point is that as we continue to work together more closely and our cultural practices, beliefs, foods, jewelry, designs, etc. will be on display and be shared. As Kevin points out, we need to reach out to each other so we do not rip anybody off and have authentic, genuine friendships. It is up to us in 2013 to figure out how to be authentic and respectful towards each other.

Homework: Reflect on your own practice. What kind of cultural learner are you? Do you cut and paste or copy and paste? If yes, what skills are you using to ensure that you apply your learning to reach out to other cultures to copy and paste authentically?

This question has been on my mind lately as I observe our behavior at work, in the grocery store, shopping and social media. You name it, my thoughts are full. What culture am I writing about?  Is it the big culture, as in the dominant culture, or little culture, the culture we personally experience every day? I mean both, especially the dominant culture because whatever it does affects us all. The reality of New Yorkers making Dakota tipis in their living rooms and the Washington Redskins deciding to keep their name make me take pause. What do I mean by owning culture? Is that even possible? The easy answer is that no one can own a culture. In fact, my culture is my own, your culture is your own and the culture of our friends and neighbors belongs to them. This framework would allow me to think that no one can ever take away my culture. Is there a law against this? Should there be a law?

The reality though is different. There seems to a lot of culture cut and paste happening in the world especially with young people and corporations. Culture cut and paste means exactly what we do on a keyboard with words and sentences: a person finds something wonderful from another culture, “cuts” it from the original culture and “pastes” into their cultural lifestyle.

Recent examples are Selena Gomez at the Billboard and MTV Movie Award shows in her Bollywood inspired song, dress, bindi and dance; a Latina embracing East Indian style. Macklemore/Ryan Lewis and Pitbull (and many others) are White and Latino rappers, embracing the musical style of African Americans.

A global example is the Germans who love “Red Indians”. There are many groups of Germans who get together to practice the culture of “Red Indians” and they have been doing this for decades. They bead, they dance and sweat.  Indian Country Today said it best that it is “touching and occasionally surreal”. Let’s not forget our own American obsession in the Boy Scouts Order of the Arrow where boys take an Indian name, wear regalia, perform “Indian” style and pretend to be an Indian in order to get a badge.

Is this ok to do? Should we care? Who has the right to take something from one culture and use it or practice it without any interaction with the source culture? Anthropologists call this cultural reciprocity but I don’t think what we are seeing today fits that general description. The two most prominent American examples of one culture “owning” another culture that come to mind are:

1. The boarding school experience for indigenous Americans with Richard Pratt’s purpose to “Kill the Indian and save the man”.
2. The slavery period for African Americans.

Both examples illustrate that one dominant American culture acted in an unjust way that they owned another culture and could force American Indians and African American to give up their cultures. This foundation has consciously or unconsciously laid the foundation to give the dominant American culture permission for people to operate with their own cut and paste behaviors without asking anyone for permission or regard for the cultural source.

So what can we do in this day and age of a shrinking, flat world where we are having more opportunities to mix culturally than ever before?  Will there be a world of cultural property like intellectual property?

The Indian Arts and Crafts Act of 1990 could be considered something in this vein. It is designed to protect the arts and crafts of American Indian nations from fraudulent practices in the United States. How robust a law is that and is it doing its job to protect what is set out to do? Will cultures, especially those so very unique and in threat of assimilation choose to protect their cultural heritage from the infringement of others?

I invite us to consider justice. Where is the beacon of justice on this discussion of taking and owning culture without permission? Justice allows us to look at things with our own lens and not rely on others or be pressured to do something that might be wrong. Justice in this sense is not the justice meted out punitively by a court of law but the justice that comes from us. The reality that everyone on the planet has a basic human right to live freely and be treated equally leads us to the concept of collective trusteeship as defined in The Prosperity of Humankind. The trusteeship “creates … the right of every person to expect that those cultural conditions essential to his or her identity enjoy the protection of national and international law.

When asked about this subject of people owning culture today and culture cut and paste, Kevin Locke, award winning Dakota flutist and hoop dancer,  had this to say:

“It is a paradoxical situation. Currently we all have our own identity and have the right to self-identify in any way. I believe that in the eyes of God the limitations of race, gender, nationality are trumped by the spiritual reality of oneness.

Kevin went on to say, “There is a paragraph from The Prosperity of Humankind that I really like and that speaks to this topic. It is the analogy of the gene pool. We are only as strong as the diversity of the gene pool. Likewise, we human beings are only as strong as the wealth of diversity in the human race. This diversity is critical for our survival. Our cultural diversity must be allowed to bear its fruit in the world.

“My personal example is the Dakota flute. Sometime in 1980 or so, someone changed the original Dakota tuning to a European style tuning structure. No one had a chance to find out what was there in the first place. No one in the dominant culture knew there was a Dakota tradition behind the flute.  What happened was that the new tuning process spread all over the internet, there were New Age recordings and it was popularized across the globe.

“I am in the process of recording the original Dakota songs so people will know the original source. The flute originates from a vocal tradition as represented on the flute. It is a style of poetry akin to Japanese Haiku.

“ The quote that I believe explains my point of view is this: ‘On the one hand, cultural expressions need to be protected from suffocation by the materialistic influences currently holding sway. On the other, cultures must be enabled to interact with one another in ever-changing patterns of civilization, free of manipulation for partisan political ends’. Therefore, it is ok to cut and paste other cultures as long as people are conscious of the origins.”

Let’s challenge ourselves when confronted with a culture cut and paste opportunity to consider investigating the practice through a lens of justice.  The following questions may assist us in this process of ascertaining justice:

1. Does my potential cut and paste suffocate the cultural expression of another?
2. Does the practice exist in my culture?
3. Do I stand to make financial gain from it?
4. Do I understand the context of its use and meaning?
5. Is there a chance that I am desecrating or distorting it meaning?
6. Is the potential for what I am doing free from partisan political ends?
7. Am I suffocating the cultural expression of another for my own manipulative gain?
8. Does it cause harm to the other culture?

The answers to these questions will lead us to make a just and equitable decision and hopefully prompt us to go to the cultural source and ask people their thoughts. If the answer is no, will we honor it? Every culture has the right to exist and be protected. Time will tell how the protective processes will be developed and implemented nationally and internationally. I believe that when we begin to interact with genuine friendships and mutual respect, many new things will begin to emerge. Imagine if the New Yorkers who want to make tipis went to the Pine Ridge Oglala Nation and asked what they thought about in-house tipis made of bright fabrics? Would they have their blessing? Now that would be something to see!

How do we, a diverse people with the capacity of justice in our hearts, cut and paste in a respectful and authentic way that honors the great cultural diversity of this planet? I believe, that when we come together to consult, and I mean all of us, we will grapple with the issues and figure out how to address these cultural issues in just and equitable ways.

So, can anyone own culture today? The answer is no. If we see the concept of ownership through our own eyes we would see that it is unjust.