Russ and I visited a northern Minnesota lake last weekend. Spent part of an afternoon snowshoeing on a frozen lake. The morning’s hoarfrost floated down from the trees, looking like snow magically falling from a clear blue sky.
Oh yeah, that’s the way to do winter!
I meandered just a bit south to Carlton, Minn., to attend an Ojibwe pow wow for work. More like I white-knuckled it on the drive due to a snowstorm.
I made it to the venue and ended up glad I endured the stressful drive. Why? Because pow wows are fascinating and fun! If you ever have the chance to attend one, you should.
I’ve been to a handful in various locations across the U.S. Every time, I come away impressed by their friendly vibe and the dose of a different culture.
It’s also refreshing to be in the minority for once. Being outnumbered by Native Americans for a few hours administers a dose of empathy for what they must feel most of the time in larger society. And the regalia the dancers wear is so impressive. I could tell they spent a lot of time and effort to make and choose their dress.
I attended the pow wow as part of a teacher workshop I’m doing a story about for work. The workshop offered educators from Wisconsin and Minnesota the opportunity to learn more about Ojibwe culture and their relationship to water to bring into their classroom lessons. Attending the pow wow was part of the experience for the educators.
Before the pow wow, we were given an etiquette sheet so we could avoid making clueless-white-person faux pas.
I thought I’d share a few of the more interesting points with you. The first is that a pow wow dancer’s clothing is called “regalia,” not a costume. The info sheet says, “Costumes are worn to present yourself as something you are not.”
The sheet does not say what regalia is, but one could assume from the definition of costume that regalia is clothing that reflects a dancer’s true identity. Think of a queen. Her ceremonial clothing wouldn’t be called a costume (unless someone who was not a queen wore it.) It reflects her regal status.
The dictionary offers three definitions of regalia. One is, “the emblems, symbols, or paraphernalia indicative of royalty.” The other is, “decorations or insignia indicative of an office or membership.” The last is, “special dress (especially finery).”
I suspect the last two definitions are the most appropriate when thinking of pow wow clothing – the dancer’s clothes reflect their membership in the tribe(s), and they are clothes not worn every day. But I also like the idea that their clothing shows their true identity, and that identity is royal.
Another interesting guideline is not to touch a dancer’s regalia. It’s considered rude. I can see how having someone else’s hands all over something so personal could be an invasion of personal space and privacy.
The last is not to pick up an eagle feather that has fallen off someone’s regalia, or take photos of it being retrieved. The etiquette sheet states: “If you see a feather or regalia on the ground, do not touch it but do inform one of the dancers. They will take care of it properly.”
Eagle feathers are sacred to Native Americans, as is their regalia, so it makes sense they don’t want just anyone’s grubby hands on them. I also assume some ceremonies must be associated with retrieving a fallen feather.
End of lesson. Now you know few rules. Go out and find yourself a pow wow! It will be good for you.
Back in 2010, I Googled my parents’ names, just to see if any information about them was out on the internet. They were aging, and I wanted to ensure their safety, both online and off.
I was also curious. Neither of them had ever owned or operated a computer. Heck, even operating a cell phone was a stretch, and I’m not sure either of them ever used the one they bought for emergencies, despite my repeated and patient instructions. Would anything be on the internet about people who had never been on the internet themselves?
I was surprised to find my father’s name (Howard Pramann) associated with a blog called, “My Musical Family” by Joy Riggs, a writer based in Northfield, Minn. The post was titled, “Music: The Anti-Drug.” It featured an interview with my father about his experience playing the cornet under the instruction of Joy’s great-grandfather, G. Oliver Riggs (the G stands for George, a name Mr. Riggs did not like so did not use). Mr. Riggs was adamantly against smoking, especially since his musicians needed good lungs to play. His anti-smoking lectures no doubt kept many a young man from taking up the habit.
After reading the post, I vaguely recalled my parents recently mentioning something about my dad being interviewed, but I didn’t understand that it was for a blog.
My father, Howard Pramann, in his spiffy band outfit in St. Cloud in 1937.
I shared the post with my family members and parents, and wrote a thank-you e-mail to the author. She responded quickly, and we corresponded a few more times. She explained she was writing a book about G. Oliver Riggs, who was an influential and prolific “Minnesota Music Man.” He developed and directed bands in communities like St. Cloud and Crookston, Minn., and even in Montana. My father, Howard, played in the St. Cloud band for eight years, from age 10 until he graduated high school.
Late this summer, I received a message from Joy through my author website. She noticed I was a presenter at the North Shore Readers and Writers Festival in Grand Marais, which she planned to attend. She was looking forward to meeting there, plus she had published the book about her great-grandfather.
After receiving her message, I looked at Joy’s author page to see how I could lay hands on a copy of her book. I noticed she was doing a signing at a local bookstore a few weeks before the festival. I told her I would see her at her signing and later at the festival.
We met at the bookstore and had a nice chat. Not long after, I read her book, entitled “Crackerjack Bands and Hometown Boosters: The story of a Minnesota Music Man.” (Noodin Press, 2019.)
What immediately impressed me is how Joy interweaves her personal story with information about her great-grandfather’s life. This made the book much more interesting, as readers are able to experience the thrill of discovery that Joy found during her research process. Readers also learn that this book was her return to journalism after many years of subsuming her career to her growing family’s needs.
Her vivid prose won me over to the importance of her topic – bringing to life a bygone era, when public bands were the best form of entertainment in town and brought communities together. Although G. Oliver was a stern taskmaster, Joy’s book shows how his methods and discipline influenced his young pupils in a positive way throughout their lives.
Since my father was one of those pupils, it was thrilling for me to see photos of the venues where he might have played, and learn about the people he performed alongside. I was particularly interested in seeing pictures of my father’s piano teacher, who was G. Oliver’s wife, Islea.
Reading Joy’s book made me wish my father (who died in 2016) had spoken more about his community band experiences. When I complained about having to practice the required half-hour per day on my French horn in junior high and high school, he could have retorted with things like, “When I was your age, we had to practice four hours per day. What are you complaining about?”
I would have liked to hear him describe the contests his band won, and the parades they marched in. But through Joy’s book, I was able to follow the band’s triumphs and challenges across the years.
Joy describes her interview with my father in Chapter 13. He’s mentioned again on page 228 as playing a cornet duet before an audience of 5,000 people in a theater in St. Cloud.
To my surprise, Joy even refers to me on page 200, although not by name, when she discusses our initial correspondence.
Of course, I’m going to like any book that has me in it (ha, ha). But even if I wasn’t included, I’d still recommend Joy’s book for anyone who is interested in Minnesota’s musical history and the important role the arts can play in people’s lives. I gave it five out of five stars on Goodreads.
By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=5982974
I was listening to a recent episode of National Public Radio’s “Wait, Wait, Don’t Tell Me” podcast when my heart leapt with joy. The guests were talking about the year 2020 and the grandiose ideas people had in the past about how we would be living today.
What got my heart going was when the host mentioned the “Sealab 2020” cartoon.
I had been thinking about that cartoon lately, with it being the year 2020 now. Until listening to the podcast, I was beginning to wonder if anyone else but me remembered the short-lived series.
“Sealab 2020” only ran from September until December 1972, but it made a big impression on me – with my proclivities toward all things watery. The setting was an underwater lab. The dramas and intrigue of the 250 “oceanauts” featured heavily, as they faced challenges ranging from environmental disasters to attacks from giant squid.
As a nine-year-old, I envisioned myself as one of the oceanauts by the time 2020 came around. Alas, I am still landlocked, and I don’t think there are any large underwater labs in operation at this time.
My dream did not come to pass. But at least I work for Sea Grant, and that’s almost as good!
Marie's Meanderings 