Tribal Dance Quotes

Laia and Helene: They’re so different. I like that Laia says things I don’t expect, that she speaks almost formally, as if she’s telling a story. I like that she defied my mother to go to the Moon Festival, whereas Helene always obeys the Commandant. Laia is the wild dance of a Tribal campfire, while Helene is the cold blue of an alchemist’s flame. But why am I even comparing them? I’ve know Laia a few days and Helene all my life. Helene’s no passing attraction. She’s family. More than that. She’s part of me.

A significant number of people believe tribal people still live and dress as they did 300 years ago. During my tenure as principal chief of the Cherokee Nation, national news agencies requesting interviews sometimes asked if they could film a tribal dance or if I would wear traditional tribal clothing for the interview. I doubt they asked the president of the United States to dress like a pilgrim for an interview.

Laia is the wild dance of a Tribal campfire, while Helene is the cold blue of an alchemist’s flame.

According to court records, during the siege at Wounded Knee, more than two hundred and fifty thousand rounds were fired at our people by U.S. marshalls, FBI agents, the tribal police, the GOONs, and white vigilantes. These boys weren't kidding. And neither were we.

The societies kids naturally form are tribal. Gangs, clubs, packs. But we're herded into schools and terrified into behaving. Taught how we're supposed to pretend to be, taught to parrot all kinds of nonsense at the flick of a switch, taught to keep our heads down and our elbows in and shut off our minds and shut off our sex. We learn we can't even piss when we have to. That's how we learn to be plastic and dumb.

He looked upwards at the brilliant blue sky. It was high noon because the sun was right overhead. The clouds danced around slowly, while drifting across the sky. He closed his eyes and felt the warmth of the sun glowing orange on his eyelids. It was a wonderful feeling.

The tribal belonging, the sexual association, the sense of party – these are what popular music offer, and they have always been exclusion zones for me. Partly because of my musical constipation – can’t dance, can’t join in the chorus – partly because of my sense of physical self, feeling a fool, tall, uncoordinated and gangly.

The song is gone; the dance is secret with the dancers in the earth, the ritual useless, and the tribal story lost in an alien tale. Only the grass stands up to mark the dancing-ring; the apple-gums posture and mime a past corroboree, murmur a broken chant. The hunter is gone; the spear is splintered underground; the painted bodies a dream the world breathed sleeping and forgot. The nomad feet are still. Only the rider's heart halts at a sightless shadow, an unsaid word that fastens in the blood of the ancient curse, the fear as old as Cain.

Lover?” The boy lifts an eyebrow suggestively. My face grows hot. “He’s my—my friend.” “Then why worry?” The boy flashes a grin tinged with wickedness, and I find myself smiling in return. I glance over my shoulder at Izzi, talking to an earnest-looking Scholar. She laughs at something he says, her hands, for once, not straying to her eyepatch. When she catches me watching, she looks between the Tribal boy and me and waggles her eyebrows. My face goes hot again. One dance can’t hurt; we can leave after. The

Yes, I hate blown glass art and I happen to live in the blown glass art capital of the world, Seattle, Washington. Being a part of the Seattle artistic community, I often get invited to galleries that are displaying the latest glass sculptures by some amazing new/old/mid-career glass blower. I never go. Abstract art leaves me feeling stupid and bored. Perhaps it’s because I grew up inside a tribal culture, on a reservation where every song and dance had specific ownership, specific meaning, and specific historical context. Moreover, every work of art had use—art as tool: art to heal; art to honor, art to grieve. I think of the Spanish word carnal, defined as, ‘Of the appetites and passions of the body.’ And I think of Gertrude Stein’s line, ‘Rose is a rose is a rose is a rose.’ When asked what that line meant, Stein said, ‘The poet could use the name of the thing and the thing was really there.’ So when I say drum, the drum is really being pounded in this poem; when I say fancydancer, the fancydancer is really spinning inside this poem; when I say Indian singer, that singer is really wailing inside this poem. But when it comes to abstract art—when it comes to studying an organically shaped giant piece of multi-colored glass—I end up thinking, ‘That looks like my kidney. Anybody’s kidney, really. And frankly, there can be no kidney-shaped art more beautiful—more useful and closer to our Creator—than the kidney itself. And beyond that, this glass isn’t funny. There’s no wit here. An organic shape is not inherently artistic. It doesn’t change my mind about the world. It only exists to be admired. And, frankly, if I wanted to only be in admiration of an organic form, I’m going to watch beach volleyball. I’m always going to prefer the curve of a woman’s hip or a man’s shoulder to a piece of glass that has some curves.

What is important is not what is said, but that some talk be continually going on. Silence is the great crime, for silence is lonely and frightening. One shouldn’t feel much, nor put much meaning into what one says: what you say seems to have more effect if you don’t try to understand. One has the strange impression that these people are all afraid of something—what is it? It is as if the “yatata” were a primitive tribal ceremony, a witch dance calculated to appease some god. There is a god, or rather a demon, they are trying to appease: it is the specter of loneliness which hovers outside like the fog drifting in from the sea. One will have to meet this specter’s leering terror for the first half-hour one is awake in the morning anyway, so let one do everything possible to keep it away now.

People easily understand that 'primitives' cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations, Modern business-people and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger tales.

Night had fallen on Manta by the time we awoke and a cooling breeze was rustling the palm fronds of the tree outside our window. We could hear laughter below as the nightlife of Manta got underway. Girls dressed for clubbing were leaving the hotel hoping to have their world rocked after a night of dancing and wake up to discover he really was Prince Charming in disguise. In truth he would be the tatted-up, dumbed-down, self-involved bad-boy they’d been drawn to like a moth to a flame after several drinks, because he was the male mirror-image of them. The tap-tap of high-heeled shoes designed to accentuate the girls’ derrieres sounded like an ancient tribal mating song being drummed out on concrete.

VISION OF A WISARD How many of you wish to be Wizards when you grow old? How many of you want to fly? I wished to become a dragon – he said And he looked at us with eyes filled with fire The Wizard of Earth’s Sea Descended to tell us a secret of ABRACADABRA Get to know – he said - God’s true name The word will initiate Power Gate keepers of Ancient Knowledge Will open their doors Mythological Archetypes will start their dance Leading you to your tribal clout Skeletons scattered over the burial grounds Ancestors with their weapons and spears Saints and Demons Doctors and Gypsies Healers and Witches Will join you to celebrate The Birth of Self Power of Mind over Body The Vision of the Dominion of Light

People easily understand that ‘primitives’ cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations. Modern businesspeople and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger tales.

This book argues that, far from being an evolutionary mistake, chemical intoxication helps solve a number of distinctively human challenges: enhancing creativity, alleviating stress, building trust, and pulling off the miracle of getting fiercely tribal primates to cooperate with strangers. The desire to get drunk, along with the individual and social benefits provided by drunkenness, played a crucial role in sparking the rise of the first large-scale societies. We could not have civilization without intoxication.

People easily acknowledge that ‘primitive tribes’ cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations. Modern businesspeople and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger tales. The legend of Peugeot affords us a good example.

Think of it as plastic memory, this force within you which trends you and your fellows toward tribal forms. This plastic memory seeks to return to its ancient shape, the tribal society. It is all around you—the feudatory, the diocese, the corporation, the platoon, the sports club, the dance troupes, the rebel cell, the planning council, the prayer group . . . each with its master and servants, its host and parasites. And the swarms of alienating devices (including these very words!) tend eventually to be enlisted in the argument for a return to “those better times.” I despair of teaching you other ways. You have square thoughts which resist circles.

Yet none of these things [laws, justice, human rights, money] exists outside the stories that people invent and tell one another. There are no gods in the universe, no nations, no money, no human rights, no laws and no justice outside the common imagination of human beings. People easily understand that 'primitives' cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations. Modern business-people and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger stories.

There are subtler ways of killing. Call it death by statistics. Today, white man lets his statistics do the killing for him. Indian reservations in South Dakota have the highest rates of poverty and unemployment and the highest rates of infant mortality and teenage suicide, along with the lowest standard of living and the lowest life expectancy — barely forty years! — in the country. Those statistics amount to genocide. Genocide also disguises itself in the form of poor health facilities and wretched housing and inadequate schooling and rampant corruption. Our remaining lands, eyed by a thousand local schemers only too eager to stir up trouble and division on the reservation, continue to be sold off acre by acre to pay off tribal and individual debts. No square inch of our ever-shrinking territory seems beyond the greedy designs of those who would drive us into nonexistence.

People easily understand that ‘primitives’ cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations. Modern businesspeople and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger tales. The legend of Peugeot affords us a good example. An icon that somewhat resembles the Stadel lion-man appears today on cars, trucks and motorcycles from Paris to Sydney. It’s the hood ornament that adorns vehicles made by Peugeot, one of the oldest and largest of Europe’s carmakers. Peugeot began as a small family business in the village of Valentigney, just 200 miles from the Stadel Cave. Today the company employs about 200,000 people worldwide, most of whom are complete strangers to each other. These strangers cooperate so effectively that in 2008 Peugeot produced more than 1.5 million automobiles, earning revenues of about 55 billion euros.

Desire is… " Desire is the glow of bathing lunatics. Starlight is the liquid used to power a whispering machine. Humming is the music of a forest moving in unison with your eyes. * A slip of the tongue and the hummingbird’s empty throne make the acquaintance of the word frenzy, which in turn adopts the phrase: “I am closest to you when we are furthest apart,” and together they follow the anxious doorway that leads far out of the city, where travelers always meet, alone and abandoned with only their mysteries to guide them… and when the sun bleeds out of the dampness of the earth, like pale limbs entwined and exhausted, they all pause in their own fashion to reflect not upon themselves but on the white wolves in the garden shivering like mist, in the mirror hiding your face. * The nature of movement is an image lost between the objects of an eclipse fervently scratched into the face of a sleeping woman when she approaches the liquid state of a circle, wandering aimlessly in search of lucidity and those moments of inarticulate suspicion… when the riddle is only half solved and the alphabet is still adding letters according to the human motors that have not yet arrived, as a species, scintillating in the grass, burning time. Not far from your name there is always a question mark, followed by silent paws… * It is not without the mask of the Enchanter’s dance of unreason, that joy follows the torment of seductive shapes, and sudden appearances in the whisper of long corridors. Tribal veils rising out of fingerprints on invisible entrances in the middle of the landscape, assume the form of her shoulders and the intimacy of her bones making dust, taking flight. * The axis of revolt and the nobility of a springtime stripped of its flowers, expertly balanced with a murmur of the heart on the anvil of chance. Your voice arcing between the two points of day and night, where the oracle of water spinning rapidly above, that is your city of numerology, mixes with the flux of a long voyage more stone-like and absurdly graceful then either milkweed or deadly nightshade, when it acclimatizes the elements of transparency in the host of purity. * The dream birds of a lost language are growing underground in the bed of sorcery. It is all revealed in the arms of your obsession, Arachne, (crawling to kiss) pale Ariadne, (kneeling to feed) in a pool of light that exceeds the dimensions of the loveliest crime. She turns into your evidence, gaining speed and recognition, becoming a brightness never solved, and a clarity that makes crystals. * The early morning hours share their nakedness with those who bare fruit and corset fireflies in long slender bath-like caresses. “Your serum, Sir Moor’s Head, follows the grand figures of the sea, ignites them, throws them like vessels out of fire, raising the sand upwards into oddly repetitive enchantments. Drown me in flight, daughter of wonder…

People easily understand that ‘primitives’ cement their social order by believing in ghosts and spirits, and gathering each full moon to dance together around the campfire. What we fail to appreciate is that our modern institutions function on exactly the same basis. Take for example the world of business corporations. Modern business-people and lawyers are, in fact, powerful sorcerers. The principal difference between them and tribal shamans is that modern lawyers tell far stranger tales.

awake you glide upward through glimmering light your clothes fall like feathers from your shoulders with them the worries of day fade you are invited by mystic sounds in strange comforting tongues awake they call eyes open languid before you tiny creatures dance tickling greens and blues from the aura around you chef mischief their only game you smile warmth across your gaze again you float to new shores where you are clothed in the sirens song you relax deeper aphrodites nymphs send pleasure like golden knives into your chest you rise up stepping foot to sand walking to forest land tribal drumming moving with you the very beat of your own heart beaded threads drape you again in deep red the sound ringing in your ears move forth again childlike curiosity it leads you further across desert sands where the cherokee flute paints tiny circles in the palms of your hands the min mins call yet you cannot hear for what was you is no longer here again you float upward gravity pulls you back and forth until deep within a vibrating thunder sounds its clapping hands the fibers of your being all the tendrils of love come apart and dissipate you are dispersed across all these worlds unseen and unknown yet you will assemble again forget not the way you have grown pupps.

If there is a pathway into the minds of human beings that bypasses consciousness and absorbs the emotions of others; and if this pathway can be activated by the sight of a bloody uniform, a hair-raising tribal dance, or just a deep stare; and if these displays can propel a team to run faster, jump higher, hit harder, and push through pain and exhaustion, then these captains must have been masters of the art.

The descriptions of tribal rituals themselves usually exhibit features that we could characterize as play; such ritual is very much embodied as in singing, dancing, feasting, and general hilarity, but there is also a powerful element of pretend play that can have serious meanings.

Rosalyn Marie Amenta’s The Earth Mysticism of the Native American Tribal Peoples with Special Reference to the Circle Symbol and the Sioux Dance Rite:

I never escaped the pinpoint pain of the term "White Indian." I scoffed at it. I made fun of it and refuted it. I joked about it with friends and family to prove to myself how much I didn't care. Ever since then, though, a stem of fear sprouts in me. When I hear someone move fluently through their own tribal tongue, I flinch at their authenticity. When I watch other Natives dance in elaborate ceremonial regalia, I swallow my awe so it can instead fester into shame. This feeling of being fake doesn't influence reality. I am still dark enough to get stopped at airport security, followed around stores, stopped by police in border states, talked down to by people paler than me, and asked racist questions about where I'm from or what kind of magic powers I have. I still get treated like a liar or a relic when I tell someone I'm Native. I still feel a rooted, thrumming connection to the beach and the ground whenever I go home to Sequim, to where my tribe is. I still keep a mental record of all the stories I have learned, either from family or from historic documents. None of it validates me enough to remove the blight of impostor syndrome.

Tried a lot many countries, races and religions, To tie me up with their rugged exclusivities. But my heart is too grand for any one sect, So I dance naked without any cultural amenities.

Naked I Dance (A Sonnet) Naked I dance here in delight, I am not wearing name, fame or stature. All I am wearing is a smile of humaneness, Isn't that what matters in human nature! I need no faith, nation or intellect, Nor do I need illusive pomp and ceremony. I am happy being a human above all, I'll stay that way forever exuding harmony. Tried a lot many countries, races and religions, To tie me up with their rugged exclusivities. But my heart is too grand for any one sect, So I dance naked without any cultural amenities. Come join me if you like my sisters and brothers, United we’ll free the world of all tribal attires.

the Divine Liturgy celebrated in parts of Africa might include drums and tribal dancing, which makes it look strikingly different from the same Divine Liturgy celebrated in North America—yet it is the same Divine Liturgy.

Time jumps on speed, it cuts you out of the frame you are in and pastes you somewhere else without you knowing it. Speed is time travel, it is the dust of flux, and it flips you from jagged moment to moment. I had been dancing solidly for hours. It seemed like minutes. Bodies on the dance floor colliding into each other, the smell of sweat, hands twitching, my teeth gnawing my lip... In my mind, I was at a black mass, dancing a primitive, raw, tribal offering to some demon in another dimension, waiting for it to possess me... In reality, I looked like one of those people who do sign language in the corner of TV programmes for the deaf

There was to be a ngoma that night, as there always was for full moons—a tribal dance of the young Kikuyu men and women, up the high embankment at the far edge of the forest.

Shibboleths illustrate a more general point about tribalism, which is that arbitrary differences can serve a nonarbitrary function. Gileadites’ pronunciation doesn’t matter per se. What matters is that Gileadites pronounce things differently from Ephraimites. In the same way, arbitrary cultural practices may play a vital role in supporting cooperation. How people dress, wash, eat, work, dance, sing, joke, court, have sex, et cetera—all the rules that govern daily life—can serve the nonarbitrary function of making strangers seem strange, thus separating Us from Them. In

Too disparately settled and demoralized to fight back physically, the Native Americans found a kind of inner resistance through the Ghost Dance movement. In 1889, Wovoka, a Paiute shaman, had a vision. It was an essentially peaceful one: The tribes should cooperate with each other and the white man. A ritual was to be followed, which would bring back dead Indians and make the white man head back east of his own accord. The buffalo would return to the plains. Wovoka taught the ritual, a five-day dance, to members of various tribes (including a representative of the Mormons), who interpreted it in light of their own culture and experience. The warlike Lakota added the idea of the Ghost Shirt, a ceremonial garment that made the wearer immune to bullets. Lakota began to perform the dance. The authorities took this as a sign that they were planning an uprising; in 1890, the army was dispatched to arrest tribal leaders, including Sitting Bull.

When he was young, he explained,2 his people had ranged across the Great Plains on horseback, and their lives had always been organized around two crucial activities. They hunted, and they prepared for the wars they fought against rival Native American tribal groups in their area. Everything they did was designed to prepare them for one of these two organizing poles of life. If you cooked a meal, it was in preparation for the hunt, or for the fight. If you conducted the ceremonial Sun Dance, it was to ask for strength in the hunt, or in the fight. Even your name—and the name of everyone you knew—was based on your role in the hunt, or in the fight.

In Lord of the Flies, Simon's journey up the mountain to see what's really up there, monster or not, is a set-piece, as is his return into the middle of the hysterical tribal dance by which the boys are trying to drive out fear. Simon is mistaken for the Beast and killed. We could see it coming, even though Simon didn't. We weren't sure—we hoped for the best, but suspected the worst. Seeing a scene like that coming, watching it build to crisis, is one of the major ways of creating tension, drama, and suspense in a story.