Tribal Woman Quotes

You can no longer see or identify yourself solely as a member of a tribe, but as a citizen of a nation of one people working toward a common purpose.

In 1976, Stephen King published a short story, “I Know What You Need,” about the courting of a young woman. Her suitor was a young man who could read her mind but did not tell her so. He simply appeared with what she wanted at the moment, beginning with strawberry ice cream for a study break. Step by step he changed her life, making her dependent upon him by giving her what she thought she wanted at a certain moment, before she herself had a chance to reflect. Her best friend realized that something disconcerting was happening, investigated, and learned the truth: “That is not love,” she warned. “That’s rape.” The internet is a bit like this. It knows much about us, but interacts with us without revealing that this is so. It makes us unfree by arousing our worst tribal impulses and placing them at the service of unseen others.

if you were to identify a single person who embodies us Indians the best, who do you think it should be? Ideally, it should be a tribal woman because she is most likely to be carrying the deepest-rooted and widest-spread mtDNA lineage in India today, M2. In a genetic sense, she would represent all of our history, with very little left out. She shares the most with the largest number of Indians, no matter where in the social ladder they stand, what language they speak and which region they inhabit because we are all migrants, and we are all mixed.

I love that I am but one of millions of single girls hitting the road by themselves these days. A hateful little ex-boyfriend once said that a houseful of cats used to be the sign of a terminally single woman, but not it's a house full of souvenirs acquired on foreign adventures. He said it derogatorily: Look at all of this tragic overcompensating in the form of tribal masks and rain sticks. But I say that plane tickets replacing cats might be the best evidence of women's progress as a gender. I'm damn proud of us. Also, since I have both a cat and a lot of foreign souvenirs, I broke up with that dude and went on a really great trip.

Here is something I have learned the hard way, but which a lot of well-meaning people in the West have a hard time accepting: All human beings are equal, but all cultures and religions are not. A culture that celebrates femininity and considers women to be the masters of their own lives is better than a culture that mutilates girls’ genitals and confines them behind walls and veils or flogs or stones them for falling in love. A culture that protects women’s rights by law is better than a culture in which a man can lawfully have four wives at once and women are denied alimony and half their inheritance. A culture that appoints women to its supreme court is better than a culture that declares that the testimony of a woman is worth half that of a man. It is part of Muslim culture to oppress women and part of all tribal cultures to institutionalize patronage, nepotism, and corruption. The culture of the Western Enlightenment is better. In the real world, equal respect for all cultures doesn’t translate into a rich mosaic of colorful and proud peoples interacting peacefully while maintaining a delightful diversity of food and craftwork. It translates into closed pockets of oppression, ignorance, and abuse. Many people genuinely feel pain at the thought of the death of whole cultures. I see this all the time. They ask, “Is there nothing beautiful in these cultures? Is there nothing beautiful in Islam?” There is beautiful architecture, yes, and encouragement of charity, yes, but Islam is built on sexual inequality and on the surrender of individual responsibility and choice. This is not just ugly; it is monstrous.

Madeleine Albright has said that there is 'a special place in hell for women who don't help each other.' What are the implications of this statement? Would it be an argument in favor of the candidacy of Mrs. Clinton? Would this mean that Elizabeth Edwards and Michelle Obama don't deserve the help of fellow females? If the Republicans nominated a woman would Ms. Albright instantly switch parties out of sheer sisterhood? Of course not. (And this wearisome tripe from someone who was once our secretary of state ...)

Joffy had decided many years before that the problem with religion wasn’t religion itself but its flagrant misuse as an absolutist argument to promote narrow tribal agendas.

It was just the golden sunlight, ink-stain asphalt and the woman he’d always wished was his.

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.

The white woman across the aisle from me says 'Look, look at all the history, that house on the hill there is over two hundred years old, ' as she points out the window past me into what she has been taught. I have learned little more about American history during my few days back East than what I expected and far less of what we should all know of the tribal stories whose architecture is 15,000 years older than the corners of the house that sits museumed on the hill. 'Walden Pond, ' the woman on the train asks, 'Did you see Walden Pond? ' and I don't have a cruel enough heart to break her own by telling her there are five Walden Ponds on my little reservation out West and at least a hundred more surrounding Spokane, the city I pretended to call my home. 'Listen, ' I could have told her. 'I don't give a shit about Walden. I know the Indians were living stories around that pond before Walden's grandparents were born and before his grandparents' grandparents were born. I'm tired of hearing about Don-fucking-Henley saving it, too, because that's redundant. If Don Henley's brothers and sisters and mothers and father hadn't come here in the first place then nothing would need to be saved.' But I didn't say a word to the woman about Walden Pond because she smiled so much and seemed delighted that I thought to bring her an orange juice back from the food car. I respect elders of every color. All I really did was eat my tasteless sandwich, drink my Diet Pepsi and nod my head whenever the woman pointed out another little piece of her country's history while I, as all Indians have done since this war began, made plans for what I would do and say the next time somebody from the enemy thought I was one of their own.

As a legal text, the Qur’an reflects its origins in a tribal or clan-based society, particularly on issues concerning inheritance, male guardianship, the validity of a woman’s testimony in court, and polygamy. This is even more obvious in the hadith, the compilation of sayings attributed to the Prophet or documenting his actions. This combination of the Qur’an and the example of Muhammad forms the basis of sharia. The derivation of these legal rules, known as fiqh, is the responsibility of Islamic jurists and takes place on the basis of ijma (consensus). When conflicts of interpretation arise, scholars consult the Qur’an and hadith.

Ultimately, the roast turkey must be regarded as a monument to Boomer's love. Look at it now, plump and glossy, floating across Idaho as if it were a mammoth, mutated seed pod. Hear how it backfires as it passes the silver mines, perhaps in tribute to the origin of the knives and forks of splendid sterling that a roast turkey and a roast turkey alone possesses the charisma to draw forth into festivity from dark cupboards. See how it glides through the potato fields, familiarly at home among potatoes but with an air of expectation, as if waiting for the flood of gravy. The roast turkey carries with it, in its chubby hold, a sizable portion of our primitive and pagan luggage. Primitive and pagan? Us? We of the laser, we of the microchip, we of the Union Theological Seminary and Time magazine? Of course. At least twice a year, do not millions upon millions of us cybernetic Christians and fax machine Jews participate in a ritual, a highly stylized ceremony that takes place around a large dead bird? And is not this animal sacrificed, as in days of yore, to catch the attention of a divine spirit, to show gratitude for blessings bestowed, and to petition for blessings coveted? The turkey, slain, slowly cooked over our gas or electric fires, is the central figure at our holy feast. It is the totem animal that brings our tribe together. And because it is an awkward, intractable creature, the serving of it establishes and reinforces the tribal hierarchy. There are but two legs, two wings, a certain amount of white meat, a given quantity of dark. Who gets which piece; who, in fact, slices the bird and distributes its limbs and organs, underscores quite emphatically the rank of each member in the gathering. Consider that the legs of this bird are called 'drumsticks,' after the ritual objects employed to extract the music from the most aboriginal and sacred of instruments. Our ancestors, kept their drums in public, but the sticks, being more actively magical, usually were stored in places known only to the shaman, the medicine man, the high priest, of the Wise Old Woman. The wing of the fowl gives symbolic flight to the soul, but with the drumstick is evoked the best of the pulse of the heart of the universe. Few of us nowadays participate in the actual hunting and killing of the turkey, but almost all of us watch, frequently with deep emotion, the reenactment of those events. We watch it on TV sets immediately before the communal meal. For what are footballs if not metaphorical turkeys, flying up and down a meadow? And what is a touchdown if not a kill, achieved by one or the other of two opposing tribes? To our applause, great young hungers from Alabama or Notre Dame slay the bird. Then, the Wise Old Woman, in the guise of Grandma, calls us to the table, where we, pretending to be no longer primitive, systematically rip the bird asunder. Was Boomer Petaway aware of the totemic implications when, to impress his beloved, he fabricated an outsize Thanksgiving centerpiece? No, not consciously. If and when the last veil dropped, he might comprehend what he had wrought. For the present, however, he was as ignorant as Can o' Beans, Spoon, and Dirty Sock were, before Painted Stick and Conch Shell drew their attention to similar affairs. Nevertheless, it was Boomer who piloted the gobble-stilled butterball across Idaho, who negotiated it through the natural carving knives of the Sawtooth Mountains, who once or twice parked it in wilderness rest stops, causing adjacent flora to assume the appearance of parsley.

In the Babemba tribe of South Africa, when a person acts irresponsibly or unjustly, he is placed in the center of the village, alone and unfettered. All work ceases, and every man, woman, and child in the village gathers in a large circle around the accused individual. Then each person in the tribe speaks to the accused, one at a time, each recalling the good things the person in the center of the circle has done in his lifetime. Every incident, every experience that can be recalled with any detail and accuracy, is recounted. All his positive attributes, good deeds, strengths, and kindnesses are recited carefully and at length. This tribal ceremony often lasts for several days. At the end, the tribal circle is broken, a joyous celebration takes place, and the person is symbolically and literally welcomed back into the tribe.

Our culture's official rejection of the Crone figure was related to rejection of women, particularly elder women. The gray-haired high priestesses, once respected tribal matriarchs of pre-Christian Europe, were transformed by the newly dominant patriarchy into minions of the devil. Through the Middle Ages, this trend gathered momentum, finally developing a frenzy that legally murdered millions of elder women from the twelfth to the nineteenth centuries.

Quiet apart from the neurotic fear that invisible mothers or fathers may be lurking behind the marriage Veil, even the normal young man has good reason to feel apprehensive about the wedding ritual. It is essentially a woman's initiation right, in which a man is bound to feel like anything but a conquering hero. No wonder we find, in tribal societies, such counterphobic rituals as the abduction or rape of the bride. These enable the man to cling to the remnants of his heroic role at the very moment that he must submit to his bride and assume the responsibilities of marriage.

is highly probable that Kurdish language and culture began to develop during the fourth ice age (20,000–15,000 BC). The Kurds are one of the oldest indigenous populations in the Middle Eastern region. About 6,000 BC they became distinct from other cultures. Historiography first mentions the Kurds as an ethnic group related to the Hurrians (3,000–2,000 BC). So it is assumed that the predecessors of the Kurds, the Hurrians and the descendants of the Hurrians – the Mittani, the Nairi, the Urarteans and the Medes – all lived in tribal confederations and kingdoms at the time. Kurdish society at

The tribal ceremonies of birth, initiation, marriage, burial, installation, and so forth, serve to translate the individual's life-crises and life-deeds into classic, impersonal forms. They disclose him to himself, not as this personality or that, but as the warrior, the bride, the widow, the priest, the chieftain; at the same time rehearsing for the rest of the community the old lesson of the archetypal stages. All participate in the ceremonial according to rank and function. The whole society becomes visible to itself as an imperishable living unit. Generations of individuals pass, like anonymous cells from a living body; but the sustaining, timeless form remains. By an enlargement of vision to embrace this superindividual, each discovers himself enhanced, enriched, supported, and magnified. His role, however unimpressive, is seen to be intrinsic to the beautiful festival-image of man—the image, potential yet necessarily inhibited, within himself. Social duties continue the lesson of the festival into normal, everyday existence, and the individual is validated still. Conversely, indifference, revolt—or exile—break the vitalizing connectives. From the standpoint of the social unit, the broken-off individual is simply nothing—waste. Whereas the man or woman who can honestly say that he or she has lived the role—whether that of priest, harlot, queen, or slave—is something in the full sense of the verb to be. Rites of initiation and installation, then, teach the lesson of the essential oneness of the individual and the group; seasonal festivals open a larger horizon. As the individual is an organ of society, so is the tribe or city—so is humanity entire—only a phase of the mighty organism of the cosmos.

In the struggle between Muhammad's dream of a society in which women could move freely around the city (because the social control would be the Muslim faith that disciplines desire), and the customs of the Hypocrites who only thought of a woman as an object of envy and violence, it was this latter vision that would carry the day. The veil represents the triumph of the Hypocrites. Slaves would continue to be harassed and attacked in the streets. The female Muslim population would henceforth be divided by a hijab into two categories: free women, against whom violence is forbidden, and women slaves, toward whom ta'arrud [taking up a position along a woman's path to urge her to fornicate] is permitted. In the logic of the hijab, the law of tribal violence replaces the intellect of the believer, which the Muslim God affirms is indispensable for distinguishing good from evil.

I’m going to guide you across the desert,” the alchemist said. “I want to stay at the oasis,” the boy answered. “I’ve found Fatima, and, as far as I’m concerned, she’s worth more than treasure.” “Fatima is a woman of the desert,” said the alchemist. “She knows that men have to go away in order to return. And she already has her treasure: it’s you. Now she expects that you will find what it is you’re looking for.” “Well, what if I decide to stay?” “Let me tell you what will happen. You’ll be the counselor of the oasis. You have enough gold to buy many sheep and many camels. You’ll marry Fatima, and you’ll both be happy for a year. You’ll learn to love the desert, and you’ll get to know every one of the fifty thousand palms. You’ll watch them as they grow, demonstrating how the world is always changing. And you’ll get better and better at understanding omens, because the desert is the best teacher there is. “Sometime during the second year, you’ll remember about the treasure. The omens will begin insistently to speak of it, and you’ll try to ignore them. You’ll use your knowledge for the welfare of the oasis and its inhabitants. The tribal chieftains will appreciate what you do. And your camels will bring you wealth and power. “During the third year, the omens will continue to speak of your treasure and your Personal Legend. You’ll walk around, night after night, at the oasis, and Fatima will be unhappy because she’ll feel it was she who interrupted your quest. But you will love her, and she’ll return your love. You’ll remember that she never asked you to stay, because a woman of the desert knows that she must await her man. So you won’t blame her. But many times you’ll walk the sands of the desert, thinking that maybe you could have left … that you could have trusted more in your love for Fatima. Because what kept you at the oasis was your own fear that you might never come back. At that point, the omens will tell you that your treasure is buried forever. “Then, sometime during the fourth year, the omens will abandon you, because you’ve stopped listening to them. The tribal chieftains will see that, and you’ll be dismissed from your position as counselor. But, by then, you’ll be a rich merchant, with many camels and a great deal of merchandise. You’ll spend the rest of your days knowing that you didn’t pursue your Personal Legend, and that now it’s too late. “You must understand that love never keeps a man from pursuing his Personal Legend. If he abandons that pursuit, it’s because it wasn’t true love … the love that speaks the Language of the World.

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…