Bibliography
Sneve,
Virginia Driving Hawk. 1989. Ill. by Stephen Gammell. Dancing Teepees: Poems
of American Indian Youth. New York: Holiday House. ISBN 0823407241
Brief Summary Plot
A
collection of nineteen Native American poems by Virginia Driving Hawk Sneve,
originally told through oral tradition and present-day tribal poets. The poems
are a collection conceived from lullabies, prayers, ceremonial chants, original
poems written by the author herself, and other Native tribal poets. Several
Native American tribes are represented including, Lakota Sioux, Omaha, Hopi,
Paiute, Zuni, Crow, Ute-Navajo, Apache, and Osage. The poems reflect the
traditions, culture, and lifestyle of Native Americans.
Critical Analysis
Author Virginia Driving Hawk Sneve, a descendant of the
Lakota, Dakota, and Ponca Native American tribes, who grew up on the Rosebud
Sioux Reservation has provided to the reader an invitation into the values of a
culture that has solely relied on the talent of oral retellings. The author has
selected poems, which are rich in tradition and have deep relevance to her as
she grew. As noted at the beginning of the book with a quote spoken by Four
Guns, a Lakota tribal judge, the emphasis of spoken words being able to be
absorbed deep into the heart and remain there, supports the author’s own belief
of the respect she has for the oral retell and words. The collection of poetry can
be categorized as free verse with repetition and refrain seen through several
poems. Refrain can be seen in the poems, Puva,
Puva, Puva and Coo….Ah…Coo. Repetition
can be heard throughout the poems Dancing
Teepees and I Rise, I Rise. An
example of metaphor is also seen in the poem, The Black Turkey-Gobbler, as the sunrise is described as “dawn boys,
with shimmering shoes of yellow.”
The assemblage of poems reflect the theme of youth, which is
inclusive to all Native American tribes represented. In “The Black Turkey- Gobbler”, dawn is on the horizon. This Mescalero
Apache poem beautifully details morning’s arrival with descriptive words and
phrases. Words representative of predawn are “black turkey gobbler” and dawn’s
arrival described as “dawn boys, with shimmering shoes of yellow.” In “Sun, Moon, Stars”, a mother eloquently
addresses the universe and ask to “ a new life that has come to you, make its
life smooth.” In “The Four Corners of the
Universe”, the role of a young girl’s life is given significant importance
with the words “Be strong, For you are the mother of a people.” Native American
youth and their connection to the universe, as well as respect are represented
with authenticity and accuracy.
Sneve’s text offers many cultural markers that represent
authenticity attributed to Native Americans. Each poem is a collection that is
identified from a specific tribe/culture that expresses the value its holds for
it youth. Some specific cultures identified include Mescalero Apache, Crow,
Navaho, Wintu, Makah, and Lakota.
Cultural markers that speak for first language and forms of
address include the words “tble” and “puva.” In the poem “The Life of a Man is a Circle” which examines tribal community, the
universe is addressed as “Great Spirit.”
Some examples of cultural markers for celebrations are
described in several poems. The poem, “Sun
Moon, and Stars” is taken from a ceremony performed for newborns. “Nicely, Nicely” is another poem used during
a ceremony for Zuni corn. These poems and others, though not specifically tied
to religious practices, could also be included as traditional prayers. Cultural markers for musical preferences are
not stated, but there are several poems attributed to songs for both youth and
animals.
Stephen Gammell’s illustrations represent traditional Native
American life from past centuries. Each poem is either bordered by authentic
Native American artwork or the poem is centered within an illustration that
captures the essence of the author’s words. Each illustration compliments the
poet’s message.
Cultural markers for skin tone, facial features, and
hairstyles are accurately depicted in the Dancing
Teepees, My Dress is Old, and I Rise,
I Rise where Native Americans have similar attributes of tan skin, dark
eyes, and long hair, either flowing or braided. Clothing is representative of
Native Americans living many years ago, but culturally speaking the
illustrations include fringed shirts, pants and dresses, most likely made from
animal skin. Although this might be considered culturally inappropriate, the illustrator
has taken careful consideration to represent a people without dehumanizing
them.
The cultural markers for architecture, homes and general
environment are shown with tribes living in teepees on the open land, open
fires for cooking, pottery, and animal skins drying on lines. All cultural
markers mentioned would be classified as nonmodern representations.
The theme throughout this collection of short poems includes
youth and how their spirit is bound to the natural world. It is important to
note that although many different North American Indian cultures are
represented, each culture is congruent with the theme of life and its
interaction with the universe.
Awards
1995 North American Indian Prose Award
Review Excerpts
Booklist reviewed on May 15,
1989: “Although the subtitle implies that young people wrote the
poetry, this actually is a collection of traditional tribal songs and prayers
as well as short poems by contemporary tribal poets. In illustrating the
poetry, Gammell draws from the art of native peoples and from the art of
children, but what develops is a unique and joyous style of his own. Working
mainly with earth-toned watercolors, but occasionally with muted crayons or
color pencils, he creates detailed drawings and borders that echo the art of
each poet's cultural heritage. A handsomely produced picture-book anthology of
Indian poetry. - Carolyn Phelan
Publisher’s
Weekly reviewed March 10, 1989: “An infant's first cry is one
of the many potent images that leap out of this collection of poems recorded
from the oral traditions of several American Indian tribes. Gammell works in an
earthy vein unlike anything he has attempted before. Giving himself over to the
patterns and themes suggested by each snippet or riddle-like verse, he scratches
out strong woven symbols in colored pencil, or paints watercolor scenes on
dappled pages resembling animal skins. Many artistic styles are represented, as
if he gathered his sources from as many tribes as Sneve did her poems. Like a
trail of stepping-stones, this exquisite collection may lead readers to other
sources, such as the works of Paul Goble. Together, poet/compiler and artist
offer small but satisfying glimpses of some of the rich and varied Indian lore,
which--if abundant--has been mostly, overlooked.
Connections
Student can research the culture represented by each poem.
Students discuss their ideas and misconceptions about Native
Americans.
Invite a storyteller to class so that students may be
introduced to the oral tradition of Native American culture.
References
Publisher’s Weekly Review. “
Dancing Teepees.” Publishersweekly.com
(accessed October 21, 2015)
TWU Library Database
– Books In Print
(accessed October 21, 2015)
TWU
Library Database - Children’ Literature Comprehensive Database
(accessed October 21, 2015)
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