JINGLE DANCER
Smith, Cynthia Leitich. 2000. JINGLE DANCER. Ill. Wright, Cornelius Van and Hu, Ying-Hwa. New York: Harper Collins. ISBN 068816241X.
Plot Summary
Jenna’s grandmother, mother, and women in her family dance the traditional jingle dance at the Muscogee-Creek powwows. Jenna daydreamed of the day when she would get to dance the jingle dance. “Jenna daydreamed at the kitchen table, tasting honey on fry bread, her heart beating to the brum, brum, brum, brum of the powwow drum.”
Jenna watched a videotape of her Grandma Wolfe perform the jingle dance. She copied the steps and her skirt bounced but it didn’t sing. She needed tins for her skirt and there was no time to order them. She borrows jingles from her Great –aunt Sis, Mrs. Scott, Cousin Elizabeth, and Grandma Wolfe. All of these ladies asked Jenna to dance on their behalf. She had just enough tins to make her skirt jingle and sing at the next powwow.
Critical Analysis
Cynthia Leitich Smith is a mixed-blood member of the Muscogee Creek Nation. JINGLE DANCER was her first book. She used a contemporary Native American girl to emphasize the importance of keeping a tradition alive. Powwows are still held in Oklahoma where I grew up as a child. I have never attended one but I have seen Cherokee Indians dressed in the celebration clothes.
Modern clothes combined with traditional Creek attire are presented through out the book. It was interesting how Smith used a stay-at-home mom, a working lady in a high level career and a gentle grandmother to show the continuation of a traditional extended family. It removes the stereotype image of quiet Indian women and that only Indians on reservations keep their traditions alive.
Fry Bread, Indian tacos, and honey are cultural markers of some of the Native American foods. Words that represent the sounds of the jingle dance, “ tink, tink, brum, brum, and get-ah-go-o,” are other markers.
A vivid description of the tins that tingle, “sang cone-shaped jingles and jingles of tin.” Several expressions of time, “As Moon kissed Sun good night, As Sun fetched morning, As Sun arrived at midcircle, As Moon glowed pale, and As light blurred silver, are traditional ways to tell the time of day.
Smith used an urban setting which is nice because it shows that Jenna’s family are normal people and not set apart. They eat some of their traditional food but it’s not played up like the foods are special. They are just everyday food. “Mrs. Scott led Jenna into the Kitchen. Once again, Jenna rolled dough, and Mrs. Scott fried it.” Traditional names, Grandma Wolfe and common names Mrs. Scott showed a blend of the past and present.
Wright and Hu painted the modern clothes of vibrant colors and traditional dance garments in soft earth tones.” The watercolors pictures present a friendly impression. The facial expressions are beautiful and feature the eyes and jawbone structure for Native Americans.
Reviews
Publisher Weekly--Smith's language consciously evokes legend. For example, "As Sun caught a glimpse of the Moon" indicates the time of day; and Jenna is careful to borrow only a limited number of jingles, "not wanting to take so many that [another's] dress would lose its voice." Van Wright and Hu's (Jewels) lifelike renderings capture the genuine affection between Jenna and these caring older women. Their easy integration of Native and standard furnishings and clothing gracefully complement Smith's heartening portrait of a harmonious meshing of old and new.
School Library Journal--Seeing Jenna as both a modern girl in the suburban homes of her inter tribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life. An author's note and glossary tell more about the Muscogee (Creek) Nation, the Ojibway origins of jingle dancing, and the significance of the number four in Native American tradition. This picture book will not only satisfy a need for materials on Native American customs, but will also be a welcome addition to stories about traditions passed down by the women of a culture.
Connections
You could explore dance, family trees, research the Muscogee-Creek Nation, and discuss other ways to express time.
Similar Books
POWWOW by George Ancona
THIRTEEN MOONS ON TURTLE'S BACKby Joseph Bruchac
MOON IS NOT MY INDIAN NAME by Cynthia Leitich Smith
Bibliography
BETWEEN EARTH & SKY
Bruchac, Joseph. 1996. BETWEEN EARTH & SKY. Orlando: Harcourt Brace & Co.. ISBN 0152000429.
Plot Summary
Little Turtle learns from his uncle, Old Bear, that all living beings and non-living things have their place Between Earth and the Sky. All things should be considered sacred and each be given respect. Old Bear teaches Little Turtle through various Native American legends. The giant who lived in the East and later changed into a whale. The Thunder Beings who saved the brave young woman, North. The Hero Twins who defeat "He-Who-Kicks-Them-Over-the-Cliff, West. The Great Buzzard of the South who made the valleys and hills of the Great Smokies. The dry desert of the West is where the people pray for rain, "you can hear the sound of blessing rains, which come after the people pray." The sacred places were shaped in the Earth many years ago, the Center of Earth. Above, a legend of a race between Buffalo and humans. The buffalo lost the race but still deserves respect. Below, People long ago fought and didn't respect the sacred. The worlds were destroyed and people climbed to higher places. Balance Lost, when leaders lost the sacred balance and Balance Held shows respect to all beings even if you are powerful. Little Turtle understood that "we must look for sacred places that are all around us. We must look within, through the eyes of our hearts. Everything is sacred between Earth and Sky."
Joseph Bruchac shared the legends of sacred places. His book gives us a lesson on how and where to look for special places. We miss the beauty that is around us and within us because we have not learned how or where to look for special places.
Critical Analysis
The powerful words of ancient Native American legends are presented in an amazing picture book for older children. The oil paintings beautifully blend the text of the story together. The rural, mountain, desert and ocean scenery captures the historic relationship with the legends.
It was interesting how Burchac wrote the legends in stanzas. It wasn't your usual rhythmic poetry although you could read it in a poetic style of prose. I believe it worked well for a children's book.
One aspect of the story that reflect the authenticity was the relationship of the young nephew and his wise old Uncle. In most Native cultures, the elders are considered special because of their wisdom and age.
Bruchac did extensive research and drew from his personal background to write an authentic story of famous legends. The 11 legends are about directions and the most significant one is the direction "within". The purpose of the direction "within" is for mankind to see the beauty of the creator. The short masterpieces of tribal legends combine to show the one objective of life that we should respect each other and hold all of earth as a sacred place. The message is not that we are all the same. Each tribal legend was different; however, each emphasized "respect for the sacred places."
Thomas Locker's oil colors on canvas brought the painting to life. Each wonder of the world was vivid and captured my attention. The desert looked hot and the forest looked cool. Other markers were the different Indian names, Little Turtle, Old Bear, Ne-ah-ga, I'itoi, Be-deg-wad-zo , Pe-to-bowk, and plant names like ocotillo or saguro cactuses. The book includes a glossary, a brief pronunciation guide and a map showing the general location of different Native American groups.
Bruchac, an insider, a well known author, writes with authenticity and respect for his Native Americans. BETWEEN EARTH & SKY can be appreciated by readers from any background.
Reviews
Publishers Weekly--A Native American man tells his nephew 10 legends of sacred places. PW praised the "gracefully compressed" unrhymed verse and the alternately "ethereal" and "atmospheric" oil paintings. All ages.
School Library Journal--Each legend is related to one of the seven directions and is attributed to a specific people. There is a brief pronunciation guide and a map showing the general location of different Native American groups, but no other documentation is provided. Glossy, cream-yellow paper; clear, black type with the first letter on each page done in flowing, yet restrained, red calligraphy; and lush art make this a book that is pleasing to the eye. Locker's landscape paintings are done in the tradition of Constable's work, concentrating on conditions of sky, atmosphere, and light rather than physical details. His colors, veering toward the day-glow intensity of Maxfield Parrish's work, infuse the scenes with the intangible presence of the sacred. It is difficult to convey the beliefs of an entire people in one brief legend divorced from the rest of their tradition, yet these selections point to the richness possible in looking at the Earth in a spiritual way.
Connections
You could us this book as an introduction to Native American folklore. The map would provide information for American History combined with a math lesson to comparison of the great wonders of the world.
Similar Books
THE EARTH UNDER SKY BEAR'S FEET by Joseph Burchac
HOW THE STARS FELL INTO THE SKY: A NAVAJO LEGEND by Jerri Oughton, Lisa Desimini, Illustrator.
THE FIRST STRAWBERRIES by Joseph Burchac
Bibliography
THE BIRCHBARK HOUSE
Erdrich, Louise. 1999. New York: Hyperion Books for Children. ISBN 0786803002, 07868224140, 0786814543.
Plot Summary
Written by insider, Louise Edrich, THE BIRCHBARK HOUSE presents a story of courage, love, and survival. The story, told from the eyes of a seven year old Ojibwa girl named Omakayas, gives details of the daily lives of Native Americans who lived on the Island of the Golden-Breasted Woodpecker. Omakayas had lived on Spirit Island until all the people there died from smallpox. It was Old Tallow who rescued her and it was Tallow who told her the truth about her past. Omakayas understood why Tallow told her about her past. The circle was completed and she could look forward to her future
Critical Analysis
I had to read the first two chapters twice to get the connection of the Girl from Spirit Island and she was named Omakayas. The story read smoothly once I understood who was speaking and she was in a new family.
Native Americans seldom give their children names right away. Omakayas was her name because her first step was a hop. Her little brother Neewo did not have a name because the name givers had not yet dreamed of a name for him. "There were seven or eight people on the island who possed the right to give names" There names were authentic Native names; Auntie Muskrat, Day Thunder, Swan, Old Man Migwans and Waubanikway.
Neebin (Summer)--Great details are given on how Omakayas and her family built their summer home, the Birchbark House. Omakayas and Nokomis sewed the birchbark strips together while Mama and Angeline tied together a frame of willow poles. They were moving from their winter home a cabin of sweet-scented cedar located on the other side of the village.
The story moves through the four seasons starting with summer and ending with spring. Humorous stories are sprinkled throughout the book. One afternoon two of her father's friends come to visit, Albert LaPautre and Fishtail. They were also business partners with Deydey. Omakayas and her sister see the men coming and they hide in the bushes so they can listen to their conversations. Mr.LaPautre said that he had a vision. He was always having visions that were of no great meaning to others. With all seriousness he blurted out about his latest vision. "I dreamed I had Lice! The meaning is unclear." Deydey made a joke of it. "From now on when you dance. You will dance hard enough to shed your lice." LaPautre returns for several other funny stories. This joke contradicts the stereotyping that Native Americans are serious and lack humor. One other funny story was when Big Pinch was to watch the chokecherries. His mother had found a late patch to pick and she laid them out to dry. Big Pinch was to keep off the birds and flies. "If only, thought Pinch sadly, those berries didn't look so delicious!" Grandmother's crow tried to stop him. "Andeg cawed three times, and seemed to disapprove. Pinch made a face at the bird. The berries tasted as good as they looked, better." The illustration of him with a handful of berries to his mouth and puffed out jaws is just priceless. His clothes and hair indicate that he is Native American.
The story is rich with traditional chores for children like cleaning skins, tanning skins, tending crops, picking berries and watching her baby brother. Each year they prepared to plant. Some broke winter-packed earth while others picked stones, pulled roots and smoothed out rough rows to plant pumpkin seeds and corn.
There's excitement, the bear cubs and their mother and Deydey tricking the storekeeper in a game of chess so he would discount part of their winter supply bill. Omakayas is courageous to care for her family when they are sick. She is not strong enough to get over the death of her baby brother until Old Tallow tells her about her past. Tallow explained to her about Spirit Island and historical outbreak of smallpox that killed her parents. How she was the only one on the island that survived which is why she didn't get sick this time. Omakayas remembers the white-throated sparrows singing to her. It wasn't until she heard and remembered her past that she was able to face her future. "She head her little brother as though he still existed in the world. She heard him tell her to cheer up and live." Native American respect their dead and believe strongly in communicating with the spirits both good and evil. THE BIRCHBARK HOUSE is well written and a wonderful book to introduce a Native American language, history and a new culture.
Reviews
Publishers Weekly--The author's first novel for children centers on young Omakayas and her Ojibwa family who live on an island in Lake Superior in 1847; PW's Best Books citation called it "captivating."
Horn Book--Erdrich crafts images of tender beauty (Omakayas's father's moccasins, "soft and open… seemed relieved to flop inside the door and nestle into the safe embrace of Mama's pair") while weaving Ojibwa words seamlessly into the text. Her gentle spot art throughout complements the sweetness, sadness, and humor of this first of several projected stories that will "attempt to retrace [her] own family's history" and thereby redress the imbalances of a literature that erases or distorts the Native American's place in our country's past.
Connections
History of smallpox can be tied to a science lesson. Counselors could offer it to children that have been adopted to read for comfort. You can use it for American History lessons about Native Americans.
Bibliography
THE MUD PONY: A Traditional Skidi Pawnee Tale
Cohen, Caron Lee. 1988. THE MUD PONY. Ill. Begay, Shonto. New York: Scholastic. ISBN 0590415263.
Plot Summary
The Mud Pony is one of a number of ancient boy-hero stories told among the Skidi band of the Pawnee Indians of the American Plains. A poor boy from the tribe wanted a pony like the other boys. He couldn't afford a real one so he made one out of mud and gave it a white clay face. Every day he went to care for his pony like it was real. One day while he was taking care of his pony his people broke camp and left. His parents looked for him but couldn't find him. They left without him.
His mud pony becomes real and helps him find his family. The war chief acknowledges that the boy has a gift of great power. The boy helps his tribe defeat their enemy. They are then able to hunt for the buffalo. The boy is made chief and finally it is time for the pony to return to Mother Earth. "My son, now you are a chief among your people, a chief with the power of Mother Earth. It is Mother Earth who gives you the power, and not I, I am part of her and it is time that I go back to her." His pony reminds him again at the close of the story, "I am here, your Mother Earth. You are not alone!"
Critical Analysis
A boy-hero folk tale, THE MUD PONY was retold by Caron Lee Cohen, an outsider. A great deal of research went into the writing of this book and the author acknowledges this at the beginning of the book.
It's interesting that the young boy isn't given a traditional Pawnee Indian name although this does not hinder the presentation of the story. The story line moves quickly. The boy makes his pony and takes care of it like it's real. Right away he is left abandoned when his family leaves to find buffalo to survive the winter. The picture of him crying into his hand in the middle of his empty camp is believable. His words bring you into the story, "My people!" he cried. "I will never find you! I am all alone!"
His mud pony becomes real and says, "My son, you are not alone. Mother Earth has give me to you. I am part of her." I read that the Skidi band of Pawnee were farmers so they relied on Mother Earth. The descents are traced through the mother's side of the family. The pony being sent by Mother Earth is authentic of their culture. Illustrations serve as cultural markers. The hair styles, head dress, riding horses bare-back, the cave like drawings around the war chief are all markers provided through research of the Pawnee Indians. A few Pawnee words were used as markers, tepee, dried meat, buffalo horn spoons, wooden bowl, and a greeting, "Nawa, tiki!"
An editor from Scholastic Books contacted Shonto Begay to illustrate THE MUD PONY. Begay is Navajo Indian and has always loved to paint. His favorite place to paint was his story rock found in one of the corn fields on their reservation. Begay uses a lot of motion in his pictures in this story. Once the pony becomes real, the boy rides for three days. He throws dry grass on the fire then his parents rise up to meet him. He rides again for three days and the village comes to greet him. He goes to war and helps defeat the enemy. He hunts the buffalo and later becomes chief. The pony returns to Mother Earth and she tells the boy/chief, "I am here, your Mother Earth. You are not alone." The water color illustrations portray the background of the desert and its dryness quite accurately. The illustrations and story flow well and I would recommend this book for grades K-4.
Legends of American, NATIVE LEGENDS website. http://www.legendsofamerica.com/NA-Pawnee.html. Accessed October 29, 2008.
Begay, Shonto. LIBRARY TALK. Nov/Dec96, Vol. 9 Issue 5, p14, 3p, 1 chart, 2 bw. http://ezproxy.twu.edu:2058/ehost/detail?vid=7&hid=109&sid=9e87ec2f-e4eb-40d4-9a73-a2d0d443d7aa%40sessionmgr103&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=9611142504. Academic Complete, Accessed October 29, 2008.
Review Excerpts
Publishers Weekly--Cohen retells this story with grace; Begay, a Native American artist, provides evocative paintings that derive strength and impact from the suggestion of action rather than fully detailed scenes.
School Library Journal--A quietly told tale, solidly built upon Pawnee traditions; for example, the symbolic use of Mother Earth is characteristic of this tribe who lived in dome-shaped earth lodges. The watercolor illustrations are executed in earth tones with spatter backgrounds. The primitive style, with minimal details and flat perspective, almost resembles Indian artwork found on the walls of their housing.
Connections
The Mud Pony could introduce a history lesson on the different banks of the Pawnee tribe. Art teachers could use it as an illustration for cave art and introduction to clay moulding. Younger children could make their own clay pony and use the story to build their vocabulary for Native American words.
Similar Picture Books
Joseph Bruchac and Gayle Ross. 1995. THE MILKY WAY: A CHEROKEE TALE., Illustrator Virginia Stroud.
Paul Goble. 2001. THE GIRL WHO LOVED WILDHORSES.
Tommie dePaola. 1996. THE LEGEND OF THE INDIAN PAINTBRUSH.
