Shell Shaker: A Chickasaw Opera

Grand Opera in Two Acts – 90′
3(1.2.3/Pic.) 3(1.2.3/EH) 3(1.2.3/Bcl.) 3(1.2.3/Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Str.
Commissioned by Tianhui Ng/Mount Holyoke Symphony Orchestra .
Premiering March 19, 2022.

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Shell Shaker is a new opera based upon the Chickasaw Indian legend of how the Chickasaw people received turtle shells for stomp dancing and ceremonies.

SYNOPSIS
There was once a Chickasaw girl who was not created like the other children. They called her Loksi’ (Turtle) because she tried to run and play with them but was not able to keep up. Still, she was a hard worker and kept up with her mother while doing their chores. Even though her mother told her not to play with them she would say “But they are my friends!” As time went on, the girl began to lose hope and stayed at home more, helping her mother and grandmother with the chores.

Toward the evening of a summer day she was sent to get water from the creek. As she approached the water, she recalled her grandmother telling the young mothers to remember that when your heart is troubled you must go to the running river. “The water is one of the most powerful elements of the earth,” Grandmother told them. “You must drink and look into the water and tell the water your trouble. If you shed the tears of your true heart, the water will carry your troubles away. And if you listen close, the water will tell you what you must do.” The little girl followed her grandmother’s advice. She waded into the water, took a drink and looked into the water, telling the water of all her troubles and how sorry she was for being the way she was – not able to keep up with the other children. She could not help the way life had been for her, and all she wanted was to be with the other children in their daily life.

The water was deeply touched. It felt her precious tears and heard her sweet voice. As the girl was crying, the water came to a standstill to listen to what she had said. The water spoke to her, instructing her to leave the village and to not tell anyone of her leaving. “You will stay away for four years, not to return within those years. Do not look back, for it will haunt you. You are to seek a vision while you are gone and learn what it teaches you. The little girl asked, “What vision?” The water answered, “You will know when it’s time.” The water fell silent and began to flow again.

She did as the water had said, packing up only a few things and quietly left that same evening -letting no one know. After a twelve-day walk, she came to rest. She was very alone and eating only what she could find. She came to a spring to drink and it reminded her of what the water told her. She arrived at what looked like a good place to stay – a spring close by and vegetation and fruit trees. She made herself a hut and settled down for the winter. During the days she walked through the woods alone, gathering plants and fruit and patiently waiting for her vision. Two years passed and no vision had come.

One day, while walking through the woods she came upon an old turtle. Noticing that it was moving so slowly, she laughed at it and asked, “Where are you going in such a hurry?” As she laughed, she remembered how she had been treated in the past and felt remorse. She told the turtle “You are what my people call me.” The turtle knew how she felt and wanted to hear more from her and of her life, so, she picked him up and carried the turtle wherever she went. She told him all about her people and how wonderful her grandmother was in sharing her wisdom with the young women. When it was time for sleep, the girl made a place for the turtle beside her bed so she could watch him, every night as he drifted off. Each morning she went to the spring for water to give old turtle a bath – all the time laughing, playing and talking to her friend. She kept herself very busy and entertained him while working around her little hut and taking care of what needed mending. She forgot all about time and didn’t notice that the fourth year of her journey had come.

One evening, during the last winter month, the girl and turtle were in the hut singing and dancing. It was time to go to bed, so she picked up the turtle and gently put him in his place. She continued singing as she laid down on her side, starring at the turtle as she went into a deep sleep. An old turtle woman came to her during the night and spoke to her as if she were awake. The woman said, “I have come for the old turtle as it is time for him to come home. I’m the caretaker of all the turtles of the earth.” When the girl woke up, her friend was gone. She looked all around the hut knowing it could not have gotten very far. She remembered her dream but would not give up looking for him. The evening of the fourth day the girl was quietly laying on her bed, starring at the old turtle’s place. She went into a deep sleep and the old women appeared again. She told the girl “When it becomes spring of this new season you must return to your village, as four years have passed. Because you were so kind to the old turtle, he has left you a gift.”

When the girl woke up the next morning, she was not a little girl anymore, but a beautiful young woman. As she arose, she looked where her friend once laid, and a set of turtle shells was in its place. She remembered that the old woman said, “When your people sing and dance you will always wear these turtle shells during the ceremony. You will keep the name Loksi’, for the old ones are so pleased and will always be with you. The turtle is the one created closest to the earth. Always remember who you are and where you came from. Never to do others as was done to you and your people will follow you.”

She journeyed back to the village and arrived during the first ceremony of the opening season. The stomp dance was going strong with the men singing and everyone dancing. She quickly strapped her new turtle shells to her legs and went into the circle behind the lead singer. As they started singing, Loksi’ began her shell shaking rhythm by stomping as she danced. When the song was finished all the people came to greet her and tell her how beautiful she danced! The medicine man asked her name and she said it was Loksi’. He said an old turtle woman came to his dreams and told him that a beautiful young woman, wearing turtle shells, would soon come to dance; that she was the new turtle clan mother and that all the women would follow her shell shaking.

Today you can hear the sprits of the young women and the turtles when the stomp dance is performed.

CAST
Young Loksi’, girl soprano – Chickasaw girl
Loksi’, lyric soprano – Chickasaw young woman
Young Hiloha, boy tenor – Boy who becomes Lead Singer, secretly in love with
Loksi’ Hiloha, tenor – Lead Singer
Ishki’, soprano – Loksi’s Mother
Inki’, bass – Loksi’s Father
Ippo’si’, mezzo soprano – Loksi’s Grandmother
Abokshi’, barotine – River
Loksi’ Sipokni, tenor – Old Turtle
Loksi’ Ippo’si’, soprano – Grandmother Turtle
Alikchi’, baritone – Medicine Man
Chorus, SATB

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Hattak Heloha (Thunder Beings)

Concerto for Violin and Orchestra – 30′
Solo Vln..; 3(1.2.3/Pic.) 3(1.2.3/EH) 3(1.2.3/Bcl.) 3(1.2.3/Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str.
Commissioned by Irina Muresanu.
Premiering 2023.

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Hattak Heloha is a new violin concerto composed for Irina Muresanu and is based upon the Chickasaw legend of the Thunder Beings. It is the ancient Chickasaw belief that our spirits make a new home in the clouds, after this life, where they become Thunder Beings. Whenever there are thunder storms, it is a time that the good spirits and bad spirits are at battle. Chickasaw warriors would shoot their arrows and fire their guns into the clouds to help the good spirits win.

This concerto is a remembrance of the old Chickasaw ways, and is divided into three movements and features three ancient Chickasaw melodies. The violin soloist is an active storyteller, leading us through a rhapsodic expression of different aspects of Chickasaw life:

Iyaakni’ (Homeland/Drum Dance)
This movement is full of vibrant and nostalgic feelings of playful, undisturbed and innocent times. These are my colorful impressions of simply enjoying our relations and good times with family
and community.

Nokfónkhat Intaloowa’ (Memorial Song)
This memorial song is commonly sung when a loved one dies and this movement is in honor of our ancestors who transition into Thunder Beings.

Shawi’ Hilha’ (Raccoon Dance)
This fast and furious dance represents my own family raccoon clan and is meant to celebrate the victorious battle between the spirits, insuring many happy and safe days to come for Chickasaw people.

All of the songs featured in this concerto are melodies I sing to my six-year-old son, Heloha (hee-low-hah), at bedtime. He will recognize them when he hears this concerto and this work is dedicated to him.

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Forest Dwellers

Concerto for Trombone and Orchestra – 30′
Solo Tbn..; 3(1.2.3/Pic.) 3(1.2.3/EH) 3(1.2.3/Bcl.) 3(1.2.3/Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str.
Commissioned by Adam Hanna.
Premiering 2023.

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Forest Dwellers is a rhapsodic work about three fascinating, omnipotent and allusive Chickasaw legends. Like my ancestors, I am intrigued about their mystery and how their underlying spirits are fortified. This concerto seeks to use the trombone as the voice of these creatures, guiding orchestra and audience through many dimensions of color, textures, moods and ethos’ that make up their power.

I. Lhofa’ (Forest Giant) is a Bigfoot-like creature that lived in the intersecting region of Alabama, Tennessee and Mississippi, originally dominated by Chickasaw people. A malevolent being, he was known for skinning his victims and exuding a horrifying odor. He lives in the deepest parts of the woods and has a keen sense of smell that allows him to find his prey. He has the ability to speak clearly, can trick any person or animal into their doom and will make whistling sounds as he stalks through the forest.

II. Iyaaknasha’ (Little Helper) is a small creature, similar to a leprechaun. In the old days, he would assist traditional Indian Doctors in finding natural medicines and teach the doctors how to apply them. This immortal creature is very evasive and prefers not to be seen. Some people have said that they can see bouncing lights in the forest, who are the Iyaaknasha’ looking for their new
master.

III. Itti’ Bo’li (Tree Strike) is a forest being who has wooden arms and creates gargantuan thunder sounds when striking them against trees. He is not the thunder but is mistaken for it. It is believed that, if a person sets eyes on him, they will never be found again. Many Chickasaw families invoke the story of Itti’ Bo’li to keep their children safe from venturing too far into the woods.

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Ghost of the White Deer

Concerto for Bassoon and Orchestra – 30′
Solo Bsn..; 3(1.2.3/Pic.) 3(1.2.3/EH) 3(1.2.3/Bcl.) 3(1.2.3/Cbsn.) – 4 3 3 1; Timp. 3Perc. Pno. Hp. Str (12.10.8.6.4).
Commissioned by Dallas Symphony Orchestra.
Premiered February 13-16, 2020.

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Ghost of the White Deer is a romantic and dramatic bassoon concerto which tells the legend of two young Chickasaw Indians in love. In this concerto, the bassoon depicts all aspects of the characters, specifically the timbre and calling of the sacred white deer. The story is as follows:

A brave and young Chikasha warrior, Blue Jay, fell in love with Bright Moon, the daughter of a Minko (Chief). The Minko did not like the young man, so he created a price for the bride that he was sure Blue Jay could not pay.

“Bring me the hide of the White Deer,” said the Minko. The Chikasha believed that all white animals were magical. “The price for my daughter is one white deer,” the Minko laughed. He knew that an albino deer was very rare and would be very hard to find. White deerskin was the best material to use in a wedding dress, and the best white deer skin came from the albino deer.
Blue Jay went to his beloved, Bright Moon. “In one moon’s time, I will return with your bride price and we will be married. This I promise you.” Taking his best bow and his sharpest arrows, Blue Jay began to hunt.

Three weeks went by. Blue Jay was hungry, lonely, and scratched by briars. Then, one night during a full moon, Blue Jay saw a white deer, who seemed to drift through the moonlight. When the deer was very close to where Blue Jay hid, he shot his sharpest arrow. The arrow sank deep into the deer’s heart. But instead of sinking to his knees to die, the deer began to run. Instead of running away, he charged straight toward Blue Jay, with his red eyes glowing and his horns sharp and menacing…

A month passed and Blue Jay did not return as he had promised Bright Moon. After months of waiting, the tribe decided that he would never return.

But Bright Moon never took any other young man as a husband, for she had a secret. When the moon was shining as brightly as her name, Bright Moon would often see the white deer in the smoke of the campfire, running, with an arrow in his heart. She lived believing the deer would finally fall, and Blue Jay would return.

The concerto is a continuous work, delineated by the sections entitled:

Prelude
Laughing Minko
The Forest
Shared Dreams Dawn/Sunrise
Out of the Ashes
Ghost of the White Deer

Ghost of the White Deer

Ghost of the White Deer was composed for and is dedicated to Ted Soluri, Principal Bassoon of the Dallas Symphony Orchestra. Commissioned made possible with generous support of the Dallas Symphony Orchestra Principal Chair Endowment Program.

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Chokfi’

Sarcasm for String Orchestra and Percussion – 7′
Commissioned by Oklahoma Youth Orchestras.
Premiered May 6, 2018.

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Chokfi’ (choke-fee) is the Chickasaw word for rabbit, who is an important trickster legend within Southeast American Indian cultures.

Inspired by a commission for youth orchestra I decided to create a character sketch that would be both fun and challenging for the kids. Different string and percussion techniques and colors represent the complicated and diabolical personality of this rabbit person.

In honor of my Muscogee Creek friends, I have incorporated a popular tribal church hymn as the melodic and musical base.

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Waktégli Olówaŋ (Victory Songs)

for Solo Baritone and Orchestra – 25′
Solo Bar.; 1(Pic.) 1 2(Ebcl./Bcl.) 1 – 1 1 1 0; Timp. Perc. Hp. Str.
Commissioned by South Dakota Symphony Orchestra.
Premiered January 12, 2013.

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Waktégli Olówaŋ is composed in honor of Lloyd Running Bear, Sr. and all Lakota Indian warriors. It is based upon the book Indian Heroes and Great Chieftains, by Charles Alexander Eastman (Ohíye S’a). Eastman (1858-1939) was a Santee Sioux Indian physician, writer, lecturer and reformer. His literary output is an outstanding personal account of Sioux history. Indian Heroes and Great Chieftains is a set of 15 biographies of historic Sioux warriors, most of whom Eastman knew personally.Traditional Sioux victory songs are made specifically for Lakota warriors and their immediate victories and accomplishments. They are either composed by a warrior who is recounting their victories in battle, or are made in honor of a recently fallen warrior. These songs are of great importance, for they actually serve as aural historical documents of Lakota citizens. Waktégli Olówaŋ is an orchestral rhapsody, inspired by Eastman’s writings, and features five of the warriors in his book: Red Cloud, Two Strike, Gall, Crazy Horse and Sitting Bull. Through symphonic and vocal poetry, each movement depicts a warrior and his deeds. The introduction expresses honor and respect to the Great Sioux Nation from a Chickasaw man. Musical material is inspired by and quoted from existing Lakota victory songs and honor songs. Original poetry is by the composer.

Introduction
Red Cloud (Maȟpíya Úta)
Two-Strike (Núm KaȟpÁ)
Gall (Phizí)
Crazy Horse (Tȟašúŋke Witkó)
Sitting Bull (Tȟatȟáŋka Íyotake)

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Lowak Shoppala’ (Fire and Light)

Theatric Suite of Chickasaw Legends for Orchestra, Children’s Chorus and Narrator – 90′
Solo Sop. Solo Bar. Children’s Chorus; 3(Pic./Pic.) 2 3(Bcl.) 3(Cbsn.) – 4 3 3 1; Timp. 3Perc. Hp. Pno. Str. 3Nar.
Commissioned by American Composers Forum.
Premiered November 21, 2009.

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Lowak Shoppala’ is a work that expresses Chickasaw identity through the medium of modern classical music and theatre. The concept was inspired by Chickasaw author and Pulitzer Prize Finalist, Linda Hogan, and her poem entitled “Fire and Light.” Hogan composed an additional volume of poetry and narration for this production. Chickasaw artist and international award winner, Margaret Roach Wheeler, created costumes and stage designs. Chickasaw artist Dustin Mater created the graphic art. Original lighting design was by Choctaw artist, James Wallace and original choreography was by Cara Crawford. This production marks the first time in history that four Chickasaw artists have created a large-scale work for the stage. The work is in eight scenes and features orchestra, narration, children’s chorus, traditional Chickasaw and modern dancers, traditional Chickasaw and classical vocal soloists and Chickasaw storytellers. Each scene depicts a part of Chickasaw culture and history:

SCENE 1: Fire and Light
SCENE 2: Double Header
SCENE 3: Shell Shaker
SCENE 4: Clans
Minko
Bird
Alligator
Squirrel
Skunk
Panther
Raccoon
Minko (reprise)
SCENE 5: Removal
SCENE 6: Spider Brings Fire
Video
SCENE 7: Hymn
Video
SCENE 8: Double Header & Finale

Scenes from Lowak Shoppala’ may also be performed as stand-alone works or in any combination.

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Shakamaxon

for String Orchestra – 27′
2,2,2,2,2
Commissioned by Philadelpiha Classical Symphony.
Premiered May 9, 2008.

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Shakamaxon is the historic Lenape Indian village that bordered the current city of Philadelphia. It was there, under an old elm tree, that Chief Tamanend was a signatory to the 1682 treaty between William Penn and the Lenape Indians. The old elm tree blew down in a storm in 1810, and is now the location of a park named Penn Treaty Park. Shakamaxon is a remembrance of that old village and the tree under which the treaty was signed.

The first movement is the composer’s imagining of sitting under the tree and feeling the presence of the village’s original ancestors. Fragments of an old Lenape social song are heard throughout this movement. The second movement is very energetic and rhythmic and abstracts Lenape Skin Dance and Moccasin Game music. Moccasin games can be very intense and have always fostered healthy competition within American Indian communities. This movement is meant to depict the natural banter of the game, and to honor the determination and perseverance of the Lenape people.

I. Remembrance
II. Moccasin Game

Shakamaxon is dedicated to Sharon Nolte and the descendants of Chief Tamanend.

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Nitoshi’ Imali

Concerto for Guitar and Orchestra – 40′
Solo Gtr.; 3(Pic./Afl.) 2(E.H.) 3(Ebcl./Bcl.) 3(Cbsn.) – 1(Ptpt./Flgn.) 4 0 0; 3Perc. Hp. Stgs.
Commissioned by American Composers Forum.
Premiered October 27, 2007.

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Tracing MississippiConcerto for Flute and Orchestra – 30′
Commissioned by Christine Bailey Davis, Principal Flute of Buffalo Philharmonic Orchestra.
Solo Fl.; 3(Afl./Pic./Pic.) 3(E.H.) 3(Ebcl./Bcl.) 3(Cbsn.) – 5 3 3 1; Timp. 3Perc. Pno. Hp. Str.
Premiered February 18, 2002.

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Winter Moons

Ballet Score for Chamber Orchestra and Narrator – 40′
1(Pic.) 0 0 2 – 2 1 0 0; 1Perc. Pno. Stgs.
Commissioned by Dr. Patricia Tate/University of Wyoming.
Premiered February 18, 1992.

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Winter Moons is a ballet based upon American Indian legends from the Northern Plains and Rocky Mountains. It is in four movements and is performed with a live storyteller to guide the audience thought the different legends. The title of the ballet is derived from the idea that American Indian stories are best told during the full moons of the wintertime. Winter Moons was commissioned by and is dedicated to my mother, Dr. Patricia Tate.

I. Opening, Winter Moon, Puberty Blessing Songs
II. The Indian Spirit at Mesa Falls
III. Chief Red Plume and His Quest, The Medicine Wheel, The Origin of Bitterroot
IV. She Runs with the Wind, Finale

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Spirit Chief Names the Animal People

for Chamber Orchestra and Narrator – 25′
1(Pic.) 0 0 2 – 2 1 0 0; 1Perc. Pno. Stgs.
Commissioned by Dr. Patricia Tate/University of Wyoming.
Premiered February 18, 1992.

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Originally a movement within Winter Moons, Spirit Chief Names the Animal People is the Okanogan Indian story of how Coyote retained his name, given by the Great Spirit Chief. The music recorded is the orchestral version of the three powerful animals – Bear, Salmon and Eagle – along with Coyote.

Coyote
Bear
Salmon
Eagle

This work is also available arranged for Flute, Clarinet, Bassoon, Piano and Narrator.

Talowa’ Loksi’ (Turtle Songs)

for Eight Part SATB Chorus – 15′
Commissioned by Roomful of Teeth.
Premiering 2022.

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Talowa’ Loksi’ (Turtle Songs) is a work for 8-part, SATB vocal ensemble and handheld percussion. It is a 15 minute multi-movement composition in six short scute’s, referring to the top sections of a turtle shell. Each scute is a modern, dynamic and theatric orchestration of a traditional Chickasaw song. They are written to be performed in any order ar set of excerpts.

The turtle rattle is the percussion basis for Southeastern American Indian (Muskogean) music and culture. They create the foundational sound for all of our social and stomp dance songs.

Scute 1: Garfish Dance
Scute 2: Raccoon Dance
Scute 3: Memorial Song
Scute 4: Snake Dance
Scute 5: Double Header
Scute 6: Tick Dance

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Hózhó (Navajo Strong)

for Solo Soprano, Cello and Piano – 7′
Commissioned by White Snake Projects.
Premiered December 19, 2020.

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Hózhó (Navajo Strong) is composed for Sophina Calderon and is a musical reflection of her account of being a family doctor during the Covid-19 pandemic, on the Navajo reservation. It is based upon key words from her poem, Navajo Nation Strong and contains reflections of traditional Navajo songs. This work is dedicated to Sophina and her Navajo community.

This work is to be performed with Navajo Nation Strong read aloud, followed by the composition, Hózhó.

Navajo Nation Strong
Text by Sophina Calderon, Family Physician, Tuba City, Arizona

Covid-19 exploded across our community in the Navajo Nation
Our families live in multigenerational households
Some without electricity or running water
Many with limited access to healthcare and transportation
We suspect our poverty has much to do
With our high rates of infection and death

I’m a family doctor working at the hospital I was born in
I now work in triage and the emergency room
I saw family and friends’ names among the list of positives
I saw familiar faces in the hallways and E.R.
I heard devastating stories about families losing many relatives
I am saddened to see patients fall prisoner to their anxiety and depression
To see them lose what little income they had
To feed their grandchildren and pay their bills

There’s an urgent call to reach back
To traditional teachings of balance and harmony
A concept known as “hozhó”
We believe in our resilience
The history of our survival is proof
That our people will come out strong

Hózhó

There’s an urgent call to reach back!
We believe in hózhó!
Ung-ah eh ha eh. Ung-ah eh ha eh.
I saw families and friends.
So many faces I knew.
I heard their stories of families losing.
Saddened for their grandchildren.

There’s an urgent call to reach back. Hózhó!
Our people will come out strong!
Sickness came across our community.
Houses without running water.
Poverty amid the shattered souls!

Depression, anxiety.
Desolated people who are fighting.

I’m a doctor working in the place that I was born.
Devastation: prisoners of this illness.

Ung-ah eh ha eh eh ah. Ung-ah eh ha eh eh ah.
Ung-ah eh ha eh hózhó. Ung-ah eh ha eh hózhó.

We believe.
History.
Survival.
Resilience.
We are proof.
Our people will come out strong.
Hózhó! Hózhó!

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Ithánali (I Know)

for Solo Soprano, Cello and Piano – 7′
Commissioned by White Snake Projects.
Premiered May 13, 2020.

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Ithánali (I Know) is about a Chickasaw woman astronaut who is designated to be the first human to set foot on Mars. In her excitement, fear and wonderment, she is also aware of the irony of her own action – colonizing Mars – and how it compares/contrasts to the historic colonization of her own tribe. This song is the first of a song cycle, expressing many aspects of being a modern American Indian and is sung in English and Chickasaw.

Text:
This is the moment.
The old ones, they know.
Now I will listen and follow.
Now I know.

Anchonkash, (my heart) is clear.

I can feel them.
They take my hand
and show me.
They hold me,
and carry me home.

Ithánali.
(I know.)

I see,
and now I know.
Inki’, Ishki’, chihollo’li’.
(Father, Mother, I love you.)

The wind is restless,
like my soul.
Is this the right time?
Am I the right one?

I am breathless.
The air is heavy.
Hear me, mother.
Talk to me, father.

They took a chance so I could be.
They were frightened,
but fate did tell them.

I know I must go.
The Sun is shining!

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We Are the Storm

for Women’s Chorus, Piano and Hand Drum – 5′
Commissioned by Central Bucks High School.
Premiered February 2, 2020.

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We Are the Storm
Lyrics by Charles Anthony Silvestri

On this horizon there gathers a storm;
Thickening air hangs heavy and warm.
The fields of future lie among us cold and dry
The few among us know not the reason why.

We are lightning; we are thunder;
Generation of wonder!
We are the storm that gathers at last;
We are the future healing the past.

Storm gathers water and fire,
Stirring the earth, lifting it higher,
A storm, its beauty, tempest of light and love,
It’s voice of nature below and above.

Storms will heal what divides,
Let us storm and turn the tides!
The earth cries out, ready for rain
The fields of our future grow green again.

Lightning and thunder!
Yakkookay (Thank You)!

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Muscogee Hymn Suite

Symphonic Benediction for Orchestra, Children’s Chorus, Traditional Mvskoke Singer and Solo Baritone – 30′
Solo Bar. Solo Mvskoke Singer Children’s Chorus; 2(Alto/Pic.) 2 2(Bcl.) 2(Cbsn.) – 4 3 3 1; Timp. 2Perc. Hp. Str.
Commissioned by Tulsa Symphony.
Premiered June 11, 2017.

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Muscogee Hymn Suite is an orchestration of three traditional Muscogee (Creek) church hymns. One very unique artistic result of European contact is the American Indian church hymn. As missionaries fanned out across Indian Country they became the first to document our Native languages and create translations of The Bible and other Christian texts, including church hymns. This lead to a new series of a hybrid music, composed by tribal citizens. For Southeast American Indians (Choctaw, Chickasaw, Cherokee, Creek and Seminole) this hybrid style of music is now over 200 years old and contains a vast repertoire. The music is unmistakably Native and created a third category of traditional music alongside stomp dancing music and our old folk songs. The hymn transcriptions of this work are based on the singing of Curtis Scott, a traditional Muscogee singer living in Oklahoma City.

Below are recordings of the traditional hymns, sung by Curtis Scott:

I. HESAKETVMESET LIKES
(Prayer Hymn)
Hesaketvmeset likes,
God dwells,
Nak omvlkvn hahicvtet,
He created all things,
Em penkalit, mekusapis,
I fear Him, so I pray,
Cv cukwvn es vkvsamis.
I praise Him with my mouth.

II. CEHOTOSAKVTES
(Encouragement Hymn)
Cehotosakvtes, cenaorakvtes,
Do not be weary, do not be troubled,
Momis komet, awacken,
Keep striving, you all come,
O vpeyvkvres, hvlwen.
O we will go, to heaven.

III. CE MEKUSAPEYVTE
(Dismissal Hymn)
Ce mekusapeyvte,
We have prayed to You,
Momusen tem vwahes,
At this we dismiss,
Cen herketvn pu ‘wahlvs,
Give us Your peace,
Momet ‘sepu wahecvs.
And then dismiss us.
Mohmen yvmv ekvnv,
And then this earth,
Enkvpvkake yofvt,
When we leave it,
Cen liketvn ‘roricet,
And we get to heaven,
Fekvpetvn pu ‘yaces.
We want to rest.

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Misha’ Sipokni’ (The Old Ground)

Oratorio for Solo Soprano, Solo Tenor, Solo Baritone, Chorus, Children’s Chorus and Orchestra – 35′
Solo Sop. Solo Ten. Solo Bar. Chorus Children’s Chorus; 2(Pic.) 2 3(Bcl.) 3(Cbsn.) – 4 2 3 1; Timp. 2Perc. Hp. Pno. Str.
Commissioned by Canterbury Voices.
Premiered October 7, 2016.

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Synopsis: It was a time of ruin and despair for the two brothers, Chikasha and Chahta, and their families. While praying, God (Aba’ Bini’li), instructed them to lead their families on a migration to a new land in the East. For this journey, God bestowed two gifts. First, He presented a tall, majestic pole (Itti’ Fabassa Holitto’pa’). This pole was to be planted in the ground every evening and, every morning, the people were to travel in the direction it leaned until the day it would finally stand straight. Next, God presented a Sacred White Dog (Ofi’ Tohbi Ishto’). This Sacred Dog would be their guide, protector and teacher during the long and difficult journey. One day, the people arrived upon the banks of a great river, now known as the Mississippi River. The pole still leaned East, indicating for the families of Chikasha and Chahta to cross. The people hesitated, wondering as to how this could be accomplished. In a final act of bravery, the Sacred White Dog challenged the deep, strong waters and perished. Determined to honor the Sacred Dog’s sacrifice, the people crossed the river with success. After a few more days traveling East, the pole stood straight. The Sacred White Dog’s spirit appeared to the brothers and their families and said “My beloved people, you have found your new home. You have honored me by fulfilling this calling. Still, there is one last undertaking. Brothers, your family Houses shall prosper and grow. For this, you will each need an abundant domain. Chahta, you and your family will stay here. Chikasha, you will take your family and move East. Take heart and rejoice in this, for you will always be brothers. Your people will always be cousins.”

Prologue
The Decision
The Journey
The Arrival
Epilogue

Misha’ Sipokni’

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Found Again

Song Cycle for Vocal Quartet and Piano (optional children’s chorus) – 25′
Commissioned by Words&Music.
Poetry by Joy Harjo.
Premiered April 9, 2016.

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Found Again is a 4-part song cycle composed to the poetry of Joy Harjo’s publication, Conflict Resolution for Holy Beings. Historically, Joy’s poetry is deeply rooted in human relationships and this song cycle is meant to further romanticize her expressions that resonate so deeply within me. Found Again is dedicated to Joy and I am grateful to her gift of beautiful words to the world.

I Beautiful Baby, Beautiful Child (a lullaby)
II For Keeps
III Hesaketvmeset likes (Muscogee Creek Hymn)
IV This Morning I Pray for My Enemies

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Oka’ Aya’sha’ (The Water Place)

for Chorus, Woodwinds and Percussion – 20′
Chorus; 2(Pic./Alto) 2(E.H.) 2(Ebcl.) Bcl. 2 Cbsn.; 2Perc.
Commissioned by The University of Chicago, Dr. James Kallembach, Choral Director and Canterbury Voices, Dr. Randi Von Ellefson, Artistic Director.
Premiered February 28, 2015.

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Oka’ Ayasha’ is a work inspired by my family and our original homelands among the Mississippi River. This great river was a central part of our tribal identity and is one of many very large rivers throughout the old lands of Southeast American Indians. This rhapsodic work is meant to reflect the mystery, beauty, grandeur and strength of our ancient home in the Aboriginal South. The compositional material is based upon our ancient Gar Fish Dance song and Raccoon Dance song. Oka’ Aya’sha’ is dedicated to my wife, Emily and my son, Heloha (Thunder).

Oka’ Aya’sha’

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Visions of a Child: A Pueblo Lullaby

for Chorus – 12′
Commissioned by Santa Fe Desert Chorale in honor of New Mexico’s centennial.
Premiered July 28, 2012.

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Visions of a Child is inspired by and dedicated to the Pueblo Indian people of New Mexico. The work is based upon Pueblo melodies and rhythms and depicts the imaginings of a child being lulled to sleep. It begins with a traditional lullaby followed by visions of a playful buffalo, a sunflower field, rays of sunlight, the flight of an eagle, a sunrise and then waking to the same lullaby. The style of the composition reflects the unique feel of traditional Pueblo music, where phrases have mixed meters and phrasing has distinct sections. In this vein, the child’s visions have a playful and whimsical nature, while remaining simple and clear. The text is made entirely of Pueblo vocables, common to their traditional music, and is used to achieve an impression of how a child may abstract speech at a very young age.

Visions of a Child

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Taloowa’ Chipota (Children’s Songs)

for 3-Part Mixed Choir, Piano and Cello – 10′
Commissioned by American Composers Forum ChoralQuest Program.
Premiered May 12, 2012.

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Taloowa’ Chipota is a work composed for middle school aged chorus. The songs are reminiscent of traditional stomp dancing and are based on old Chickasaw melodies. Stomp dances begin at dusk and end at dawn. The first movement depicts the emerging sunlight of the morning. The second movement is full of abstracted textures emulating the shell shaking in stomp dances. The vocables have no translated meaning and are pronounced as in English.

I. Sunrise
II. Turtle Shells

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Iholba’ (The Vision)

for Solo Flute, Chorus and Orchestra – 25′
Chorus; Solo Fl.(Bfl.); 2(I=Pic./Afl. II=Bfl.) 3(II=Bcl. III=CBcl.) 1(Cbsn.) – 0 0 0 0; 2Perc. Str.
Commissioned by National Symphony Orchestra.
Premiered September 21, 2005.

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Iholba’ (The Vision) is a work inspired by the composer’s native Chickasaw culture. The Chickasaw Nation originally lived in the Southeastern United States and was relocated to Indian Territory, now the state of Oklahoma. The musical material for Iholba’ is based on a Chickasaw Garfish Dance song and is sung in the Chickasaw language. The text is original poetry by the composer, and the translation was provided by Onita Carnes, Catherine Wilmond and Pamela Munro. The work is in two movements, entitled Halbina’ (The Gift) and Iholba’ (The Vision). Iholba’ was recorded by the San Francisco Symphony and San Francisco Symphony Chorus and is available on the Grammy Award winning label Azica Records. Iholba’ is dedicated to my grandmother, Juanita Foshi’ Keel Tate.

Halbina’
Iholba’

Iholba’ was commissioned by the John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra of Washington, DC, Leonard Slatkin, Music Director, in honor of the 1996 American Residency Program in Wyoming. It premiered September 21, 2005 with members of the National Symphony Orchestra, Washington Master Chorale, Thomas Robertello, Assistant Principal Flutist of the National Symphony Orchestra, conducted by Emil de Cou.

Read the Washington Post review by Gail Wein.

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Shilombisho Ittayallittook (Worth of the Soul): A Musical Tribute to American Indian Warriors

for Chorus, Orchestra/Symphonic Wind Ensemble and Narrator – 60′
Commissioned by Dr. Matthew Inkster/Mercyhurst College.
Premiered May 14, 2004.

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One of the deepest and purest forms of American patriotism dwells in the American Indian soldier. Today, American Indians can boast the highest ethnic ratio of enlisted servicemen. In fact, one out of every five American Indians is a veteran. As ironic as this may seem, it is a continued testimony of the historic and cultural significance of the Indian warrior. Throughout Indian Country, veterans and servicemen are held in the highest regard and have a distinct place of honor. All pow-wows begin their Grand Entry with veterans carrying their perspective tribal flags, along side the United States flag. This may come as a surprise to some; however, it is a natural act for the Indian warrior who believes he is protecting both his homeland and his currently residing guests. The Indian warrior carries this dual responsibility of protection that outweighs any other, and he is worthy of transcendent honor. Warrior status is not achieved through one act of bravery, it is attained through a lifetime of demonstration. The warrior gladly sacrifices his entire life for the lives of his people. It is clear that the worth of his soul is truly immeasurable and beyond reproach. Shilombisho Ittayallittook is a poetic journey of a young Indian about to step into his hew warrior path. The narrator plays the part of a guide introducing him to different regions of Indian Country. The young person discovers that he is welcomed and supported by a legacy of Indian warriors throughout the continent, and that they each contribute unique powers to the collective voice of all Indian warriors. These varying regions of Indian Country are represented by contemporary orchestrations of social songs from different tribes. The chorus sings in the native Chickasaw language of the composer.
Worth of the Soul is dedicated to my father, Honorable Charles Tate.

I. Sunrise/Friendship Song (Hopi/Iroquois)
II. Crazy Horse (Lakota)
III. Stick Game (Paiute)
IV. Sway Songs (Navajo)
V. Gar Fish Song (Chickasaw)
VI. Song for Lori Piestewa (Onieda)
VII. Worth of the Soul (Choctaw)

Alikchi’ (The Doctor)

for Piano, Strings, Winds and Percussion – 12′
Commissioned by Parlando.
Premiering March 2022.

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Details coming soon.

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Abitahánta’: The Hunter Who Was Not So Great

for Solo Violin and Narrator- 7′
Commissioned by Katie Lansdale.
Premiering June 2021.

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Details coming soon.

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Shawi’ Imanompa’ (Raccoon Talk)

for Solo Violin – 12′
Commissioned by Katie Lansdale.
Premiered December 8, 2019.

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Shawi’ Impanompa’ (Raccoon Talk) is a work for solo violin and audience participation. The work is based on an ancient Chickasaw Raccoon Song, which is stated in its pure form, at the beginning, in natural harmonics. The melody returns, many times, in different iterations. The entire work is a rhapsodic expression of raccoons, known as chattery troublemakers, in my tribe. Raccoon is also a formal tribal clan, of which my family belongs.

There are four textures that the audience creates, during the violin soloists playing. The soloist, or an assistant, cues the audience for each texture. The audience is encouraged to confidently fill the hall with these sounds:

1. Finger snapping. Snap with both hands, rapidly, creating a popcorn sound.
2. Whisper the words, “chatter, chatter,” over and over, creating the sound of rain or spirits talking.
3. Stomping is in a very solid and steady rhythm established by the soloist.
4. Final applause is to be loud and exiting and with yelling of the words “chatter, chatter,” over and over!

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MoonStrike

for String Quartet – 25′
Commissioned by Apollo Chamber Players.
Premiered September 27, 2019.

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MoonStrike is a work composed for Apollo Chamber Players, commemorating the 50th anniversary of the Apollo 11 moon landing and features American Indian stories with a live narrator. American Indian legends are very colorful and have a tendency to take twists and turns within the narrative. Regarding the Moon, it is very consistent that the traditional tales involve trickster characters and competitions for ownership of this precious object. MoonStrike involves three diverse American Indian legends, includes traditional songs and is bookended with an arrangement of a Calusa Corn Dance. For Southeast Indians, the Green Corn Dance took place during the annual, fall Harvest Moon.

MoonStrike is dedicated to the memory of Margo Aragon-Herrington. It was Margo’s wish that John Herrington and I would collaborate with American Indian astrological stories and it is my joy and honor to realize this dream.

WATCH LIVE PERFORMANCE

Prologue
Calusa Corn Dance
I. Origin of the Moon (Kalispel)
Rockies Powwow Song, Apache Bird Song
II. The Man Who Married the Moon (Isleta Pueblo)
Pueblo Lullaby, Choctaw Hymn 139
III. Raven Steals the Moon (Haida)
Haida Play Song and War Song
Epilogue
Calusa Corn Dance

Composed for Apollo Chamber Players’ 20×2020 project, underwritten by the C. Howard Pieper Foundation.

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Heloha Okchamali (Blue Thunder)

for Piano and Clarinet – 25′
Commissioned by Meraki.
Premiered September 14, 2019.

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Heloha Okchamali (Blue Thunder) is a work composed about my son, Heloha, who’s name means Thunder in the Chickasaw language. His favorite color is blue (okchamali). This is my first work composed about a specific person and the vision of the work came to me while watching Heloha at a playground in the summer of 2018. Starting with the third movement, the title and concept comes from the fun I have calling Heloha my little trickster. He constantly imitates the speed of Catboy from PJ Masks and Flash from DC Comics, and loves pretending to be a super hero. The second movement is a very nostalgic expression of our precious sleep time and features Chickasaw melodies I sing to him as he rests. The first movement is the fun I had attaching Marvel characters to his constant adventures in life and also contains traditional songs I sing to him.

“Super Cat Speed!!”

I. Wakaa (Flying): A Marvelous Adventure
II. Twilight Dreams
III. The Trickster

WATCH LIVE PERFORMANCE

This commission was made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation.

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Snake Oil

for Saxophone, Cello and Piano – 28′
Commissioned by Zinnia.
Premiered January 15, 2019.

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Raise
Aberration I
Aberration II
Aberration III
Aberration IV
Aberration V
Descent
Aberration IV

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Oshta (Four)

for Solo Violin – 9′
Commissioned by Irina Muresanu.
Premiered January 29, 2017.

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Oshta is the Chickasaw word for the number four and became the title of this work in the spirit of Irina’s project, Four Strings Across the World. The work is loosely based upon a Choctaw church hymn that was composed in the 1800’s. One very unique artistic result of European contact is the American Indian church hymn. As missionaries fanned out across Indian Country they became the first to document our Native languages and create translations of The Bible and other Christian texts, including church hymns. This lead to a new series of a hybrid music, composed by tribal citizens. For Southeast American Indians (Choctaw, Chickasaw, Cherokee, Creek and Seminole) this hybrid style of music is now over 200 years old and contains a vast repertoire. The music is unmistakably Native and added a third category of traditional music alongside stomp dancing music and our old folk songs. Oshta presents the Choctaw Hymn 53 as the centerpiece and is embedded within my abstractions and feelings of the ancient time in which it was composed.

Oshta

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Standing Bear: A Ponca Indian Cantata in Eight Tableaux

for Solo Baritone, Piano and String Sextet – 25′
Commissioned by Hildegard Center for the Arts.
Premiered November 4, 2016.

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The Ponca American Indians were a part of the historic forced removals from their homelands to Indian Territory, now the State of Oklahoma. Today, 39 tribes live in Oklahoma as a result of this mass exodus. Chief Standing Bear was a highly revered leader of the Ponca during this time. After relocating to Oklahoma from Nebraska, many Ponca fell to tuberculosis, including Standing Bear’s 15 year-old son, Bear Shield. Bear Shield’s last request to his father was that he be returned home and buried among his ancestors. Thus began the heroic journey of Standing Bear walking hundreds of miles to bury his son. Along the way, he faced government and military resistance. He was greatly helped by his cousins, the Omaha, sympathetic American settlers, local press and legal council. After a very complicated battle, Standing Bear was able to rise in front of a federal court, filled with local and national community members and declare that American Indians have the same rights as all US citizens. He was entirely correct and the court granted him and all American Indians the status of Habeas Corpus. Afterward, he privately and quietly finished his journey back to his home land and buried his son. Standing Bear: A Ponca Indian Cantata in Eight Tableaux is a rhapsodic expression of Standing Bear’s journey and challenges. It starts with his expressions of his courageous promise to his son. Then it takes time to reflect on his own wonderful childhood, in the old traditional ways. After, we return to the removal death toll and loss of Ponca lives in Oklahoma. The seventh tableau is the climax of the work, in which Standing Bear expresses his personal resolution to the world that all men are created equal. The eighth tableau is a celebratory orchestration of Standing Bear’s honor song, created by Harry Buffalo Head.

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I: Prelude
II: Migration
III: Sing
IV: Childhood
V: The Hunt
VI: Death Toll
VII: Resolution
VIII: Honor Song

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Found Again

Song Cycle for Vocal Quartet and Piano (optional children’s chorus) – 25′
Commissioned by Words&Music.
Poetry by Joy Harjo.
Premiered April 9, 2016.

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Found Again is a 4-part song cycle composed to the poetry of Joy Harjo’s publication, Conflict Resolution for Holy Beings. Historically, Joy’s poetry is deeply rooted in human relationships and this song cycle is meant to further romanticize her expressions that resonate so deeply within me. Found Again is dedicated to Joy and I am grateful to her gift of beautiful words to the world.

I Beautiful Baby, Beautiful Child (a lullaby)
II For Keeps
III Hesaketvmeset likes (Muscogee Creek Hymn)
IV This Morning I Pray for My Enemies

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Toklo (Two)

for American Indian Flute and Clarinet – 20′
Commissioned by the Music Teachers National Association.
Premiered May 31, 2014.

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I
II
III
IV
VI
VII

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Pisachi (Reveal)

Six Epitomes for String Quartet – 13′
Commissioned by the ETHEL.
Premiered October 5, 2013.

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Pisachi (Reveal) is composed in six epitomes (sections) and was originally commissioned to be performed within a slide show exhibit for ETHEL’s touring project entitled Documerica. For this project, Pisachi was assigned to accompany images of the American Indian Southwest. In doing so, the work draws specifically from Hopi and Pueblo Indian music, rhythms and form. The opening viola solo is a paraphrase of a Pueblo Buffalo Dance and becomes material throughout the work. Later, the work refers to Hopi Buffalo Dance and Hopi Elk Dance music. It is the composer’s intent to honor his Southwest Indian cousins through classical repertoire.

Pisachi is the Chickasaw word for reveal and is pronounced pee-sah-chee.

Pisachi

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À Bec Quintet

for Flute, Northern Plains Flute, Clarinet, Bassoon and Bass Clarinet – 25′
Commissioned by and dedicated to R. Carlos Nakai.
Premiered August 21, 2009.

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“Flûte à Bec” is the French name for the medieval and renaissance wood flute. The English called it the flageolet and the Germans called it the Blockflöte. “À Bec” means “like a beak,” which is a description of the beak-like mouthpiece of this flute. When the French first encountered American Indian flutes, they saw such a striking resemblance to the European renaissance flutes, that they simply called it the same thing. À Bec Quintet was commissioned by Navajo/Ute Indian flutist R. Carlos Nakai and is directly inspired by his ancestral identity. The quintet introduces the Northern Plains Indian flute into woodwind quintet repertoire, with a deliberate synthesis of European musical forms and American Indian melodies from Nakai’s tribal lines.The first movement, Water Music, is in sonata allegro form. The first and second themes of the exposition are derived from Ute Bear Dance Songs. A brief introduction of a third theme, a Navajo Corn Grinding Song, propels the music into the development. This is followed by a recapitulation and coda.The second movement, Night Song, begins with a four-part fugue based on Navajo Night Yeibichei (Talking God) music. The middle section features the plains flute in a quasi-recitative style. The movement ends with another fugue of the Night Yeibichei song in inversion.The third movement was conceived as a rondo for a specific reason: much of American Indian music of the Southwest has a remarkable resemblance to the behavior of 17th century rondeau compositions by French clavecinists. This movement is a 6-part rondo (A-B-A-C-A-D-Coda) with the following thematic focus: A=Dogrib Drum Dance, B=Navajo Sway Song, C=Hopi Buffalo and Elk Dances, D=Ute War Dance.

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Talowa’ Hiloha (Thunder Song)

for Solo Timpani – 7′
Commissioned by and dedicated to Alex Orfaly.
Premiered May 7, 1997.

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The Chickasaw word for thunder and lightning is Heloha and, in history, Chickasaw people believed thunderstorms were the beloved, or holy people at war above the clouds. In an attempt to show their bravery and fearlessness of death, warriors would shot their guns into the air during thunder storms. This work is an homage to those old ways.

Talowa’ Hiloha

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Dream World

for Narrator, Flute, Clarinet, Bass Clarinet, Bassoon and Percussion – 20′
Commissioned by the New Jersey Chamber Music Society.
Premiered February 4, 1997.

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Commissioned by the New Jersey Chamber Music Society, Dream World was premiered at the Jersey City Museum of Art on February 5, 1997 within an exhibit of paintings by the Salish Indian artist Jaune Quick-to-See Smith. Jaune’s style of painting includes American Indian icons (such as a buffalo or a canoe) combined with mixed media and printed words that she finds funny, ironic, ignorant or serious. These words, or series of words, are taken out of context and given new meaning within her painting designs and coloring. The result is that of powerful beauty and wonderful perception. In an attempt to fashion a musical statement inspired by her paintings, I read through several of Jaune’s writings, poems and published interviews, and copied down words and statements which struck me for some reason or another. Then I grouped those chosen words and statements into smaller “poems” and designed orchestrations around them – the second movement being the most overt example. The poem in the third movement, entitled Desire, is by the Creek Indian poet Joy Harjo, who is a good friend of Jaune. The tune heard throughout the work is an old Salish Indian love song. I wish to thank Jaune for encouraging me to try something I might not have otherwise done had I not had the conversations with her that I did. People move people.

Movement I
Movement II
Movement III

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Inchokkillissa

for Guitar and Percussion – 12′
Commissioned by and dedicated to James Perez Bonney.
Premiered 1994.

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Inchokkillissa roughly translates to mean loneliness and the work is based on an old Choctaw church hymn entitled Worth of the Soul. Southeastern Indians have been integrated with European traditions for about 300 years. These hymns were sung in the old language during Christian church services and combine old Choctaw/Chickasaw style music with Christian story lines. The hymn is quoted in fragments during the first page of the piece and is based upon the performance of Choctaw singer Harry Folsom.

Inchokkillissa

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Oktibihah

for Solo Timpani, Strings and Piano – 15′
Commissioned by and dedicated to Carol Nelson.
Premiered 1994.

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The music of Oktibihha is based on a Chickasaw Snake Dance song. This song is directly quoted at the beginning in the manner of a call-and-response between the piano and timpani. Call-and-response is a very common style found in the traditional music of Chickasaw culture.Oktibihha follows the Chickasaw story of the creation of a small lake in Tibih Swamp, Oktibbeha County, Mississippi (now known as Greer’s Lake):In the old tribal ways, Chickasaw families would travel out of the city walls as a group to hunt and gather food. One day, a family with two children left to do just that. After camp was set up, the parents left the two children behind while they went to look for food. Soon after the parents left, the earth began to tremble and swallowed up the two children.When the parents returned, they found that a beautiful and mysterious lake had replaced the campsite. Frantically searching for their children, they heard a noise and noticed two giant water serpents coming at them from across the lake. The two children had been transformed into these water serpents and they chased the parents away. It is the duty of the serpents to forever guard this lake, for it is now a resting place for the spirits of Chickasaw people.

Oktibihah

Searching for Sequoyah

Turtle Island Productions
2020

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Searching for Sequoyah is the first documentary feature to chronicle the legendary accomplishments and mysterious death of the famed Cherokee renaissance man, Sequoyah. While much is known about Sequoyah’s many accomplishments, very little is known about the man himself. The greatest mystery is not how he created the Cherokee syllabary, but rather the details of his final journey to Mexico and the circumstances of his death. After removal from their southeast homelands separated some Cherokees as far as Mexico, Sequoyah set out late in life to reunite the Cherokee people in their new capitol, Tahlequah, Indian Territory (now Oklahoma). From Taskigi (Tennessee) to Zaragoza, Mexico, Searching for Sequoyah takes viewers on a journey retracing his final quest and the mystery surrounding his death.

VISIT WEBPAGE

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Home from School

Caldera Productions
2020

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In 2017 a Northern Arapaho delegation travels from the Wind River Indian Reservation in Wyoming to Carlisle, Pennsylvania to retrieve their children buried there a century ago. With the unearthing of the remains, the film journeys through the troubled legacy of Indian boarding schools and follows the brave efforts of these native peoples they seek to heal historic wounds.

VISIT WEBPAGE

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Oyate (The People)

Irrelevant Media
2019

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In the wake of the Dakota Access Pipeline protests of 2016, leaders in the Lakota community are using their newfound platform to bring attention to the myriad human rights violations committed against indigenous peoples for centuries.

VISIT WEBPAGE

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To the Wonder

A Film by Terrence Malick
2012

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Dusk
Heart
Shadows

VISIT WEBPAGE

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Indian Country Diaries: A Seat at the Drum – Documentary Score

Vision Maker Media, Lincoln, NE
2006

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Indian Country Diaries is a two-part series for national public television that explores issues facing contemporary American Indians in both urban and reservation settings. Compelling narrative stories weave themes of identity, sovereignty, health, assimilation, religion and more into a fascinating portrait of a people too often invisible both on television and to American society in general. In A Seat at the Drum, journalist/playwright Mark Anthony Rolo (Bad River Ojibwe) seeks to learn how American Indians in Los Angeles preserve tribal identity, survive economically and cope with the pressures of assimilation in a challenging metropolis. His personal quest to come to terms with these issues leads him to meet Native community leaders, Indians relocated from reservations, boarding school students, Native business leaders and single parent families whose stories typify the experiences of urban Indians. As these characters tell how Indians in Los Angeles create community and retain a connection to their tribes; choose whether their language and traditions are relevant in the modern world; cope with mounting social problems and declining social services; and develop business empires fueled by gaming profits, Rolo is propelled toward a reckoning with his own identity.

Visit the website IndianCountryDiaries.org to learn more.

Opening
Caddo
Heleluyvn
Creek
Navajo
Tohono O’odham
Sherman Institute
Prison
Sweat Lodge
Pechanga
Tongva
Robla Sisters/Finale

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