front cover of Home Places
Home Places
Contemporary Native American Writing from Sun Tracks
Edited by Larry Evers and Ofelia Zepeda
University of Arizona Press, 1995
What has nourished native peoples on this continent since time immemorial, say the editors of this volume, are wellsprings of creativity. "Down at the source," Havasupai singer Dan Hanna assures us, "a spring will always be there." The creative wellspring of American Indian culture is well represented in this anthology, a compilation of stories, songs, poems, and other writings taken from twenty-five years of Sun Tracks: An American Literary Series. Editors Larry Evers and Ofelia Zepeda have gathered the contributions of nineteen Native Americans in compiling this collection.

Some are stories from oral traditions, others are autobiographical writings, and some are songs or poems. But all are contemporary, and all have as a unifying element a strong central theme in Native American writing: home places. Some of the contributors define the home place as a center of established values, while others speak of its cultural or physical geography. Healing powers are often found at home places. Home is a place to defend against those who would reduce it to insignificance, a place to reclaim, or a place reclaimed but not yet realized.

One writer recalls a home that must be pulled from deep beneath the waters of the Columbia River. By listening to these stories of home places, the reader can gain a new appreciation of the contemporary verbal expressions of Native American communities. Home Places, note the editors, "asks you to listen to Native American signers, storytellers, and writers, and in this way to celebrate the wellsprings of creativity that continue to flow from the home places in Native America."
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front cover of Native American Oral Traditions
Native American Oral Traditions
Collaboration and Interpretation
Larry Evers
Utah State University Press, 2001

This collection provides a benchmark that helps secure the position of collaboration between Native American and non-Native American scholars in the forefront of study of Native oral traditions. Seven sets of intercultural authors present Native American oral texts with commentary, exploring dimensions of perspective, discovery, and meaning that emerge through collaborative translation and interpretation. The texts studied all come from the American West but include a rich variety of material, since their tribal sources range from the Yupik in the Arctic to the Yaqui in the Sonoran Desert.

This presentation of jointly authored work is timely: it addresses increasing interest in, calls for, and movement toward reflexivity in the relationships between scholars and the Native communities they study, and it responds to the renewed commitment in those communities to asserting more control over representations of their traditions. Although Native and academic communities have long tried to work together in the study of culture and literature, the relationship has been awkward and imbalanced toward the academics. In many cases, the contributions of Native assistants, informants, translators, and field workers to the work of professional ethnographers has been inadequately credited, ignored, or only recently uncovered. Native Americans usually have not participated in planning and writing such projects. Native American Oral Traditions provides models for overcoming such obstacles to interpreting and understanding Native oral literature in relation to the communities and cultures from which it comes.

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front cover of Yaqui Deer Songs/Maso Bwikam
Yaqui Deer Songs/Maso Bwikam
A Native American Poetry
Larry Evers and Felipe S. Molina
University of Arizona Press, 1987
Winner of the American Folklore Society’s Chicago Folklore Prize
 
Yaqui regard song as a kind of lingua franca of the intelligent universe. It is through song that experience with other living things is made intelligible and accessible to the human community. Deer songs often take the form of dialogues in which the deer and others in the wilderness world speak with one another or with the deer singers themselves. It is in this way, according to one deer singer, that “the wilderness world listens to itself even today.”
 
In this book authentic ceremonial songs, transcribed in both Yaqui and English, are the center of a fascinating discussion of the Deer Song tradition in Yaqui culture. Yaqui Deer Songs/Maso Bwikam thus enables non-Yaquis to hear these dialogues with the wilderness world for the first time.
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