Spiritual Well-being: Participation Tradition and Culture to mind and health

Kara V. Eustace

Zuni Pueblo

Eustace, Kara. “Mishongnovi” Jan 29, 23. Author’s Personal Collection

“Zuni Tribe Flag.” Infobase, Facts On File. American Indian History, online.infobase.com/Auth/Index?aid=18626&itemid=WE43&iid=202506. Accessed 19 Sept. 2024.

Eustace, Kara. "Selfie" Feb 15 25. Author's personal collection

Kara Eustace.mp4

Eustace, Kara. "Inspirations" Feb 28, 25"

Personal Connection

Why I'm interested in participating in my community is I grew up dancing ever since I was little. My mom inspired to dance since she danced. The first time I danced, was Harvest Dance. Harvest Dance is a way to get people to get physically active and boost happiness. Back in the day we danced to celebrate harvesting which was influenced by the Saints. Throughout out my lifetime, I learned that it’s just not about dancing, it’s for the community and for yourself. The movements have special meanings. Traditional dancing is also a way for me to connect to my culture. It benefits me by being physically active and happy. Going by the drum beat and being focused is a way of being mindful. Dancing for the people, myself, and people who can’t dance.

(Eustace, Kara. May 24,24. Author’s Personal Collection)

Identity

(Eustace, Kara. Dec 10,23. Author's Personal Collection)

Sharing One Skin

In the article "Sharing One Skin," Jeanette Armstrong discusses the four selves of the Okanagan People. Physical self, Emotional Self. Thinking-intellectual self, and spiritual self. "The four selves have equal importance in the way function and experience all things. They join us to the rest of creation in a healthy way" This quote is important because it makes us who we are today.

Armstrong, Jeanette. “Sharing One Skin: The Okanagan Community,” in Jerry Mander and Edward Goldsmith (eds), The Case Against the Global Economy. San Francisco, CA, Sierra Club Books, 1996. Pp 460-470.

Eustace, Kara. "DY mountain". April 25,24

(Eustace, Kara. Dec 10,23. Author’s Personal Collection)

And I went to school

A boy who was born in Cochiti was raised traditionally by his grandma. Struggles crossing two different pathways between the "white man's way and his culture." Keres was his first language, so he never learned English until he went to school. He felt different because he grew up in a one-room, house, filled with happy memories. So, he felt that the walls were spaced out and felt naked. "My life was no longer just right. I was, and I wanted to change right then and there." This quote highlights the story of how he longed to be free.

Suina, Joseph “And I went to school” memories of a pueblo childhood,”. New Mexico Journal of Reading, Winter 1985, Vol. V, No.2.

(Eustace, Kara. Oct 7, 24. Author's Personal Collection )

How place names impact the way we see landscape.

Memories and stories are connected to our land as described by, B. Toastie in the article, "How place names impact the way we see landscape,," names impact the way we see the landscape if they are attached to a story. Also, when we name them we have to show the proper reverence for the places. From the Native perspective, you can't name after a deceased person because it means you're calling them back from the afterlife.

Toastie, B. “How place names impact the way we see landscape.” High Country News: Know the West, 1 May 2022, https://www.hcn.org/issues/54.5/people-places-how-place-names-impact- the-way-we-see-landscape.

History

MacDonald, G. Jeffrey. "Episcopal Church grapples with 'transformative role' in Native American residential schools." The Christian Century, vol. 141, no. 8, Aug. 2024, pp. 14+. Gale Academic

OneFile, link.gale.com/apps/doc/A805665990/AONE?u=nm_s_santafeis&sid=ebsco&xid=76e9f7f3. Accessed 5 Oct. 2024.

Episcopal Church grapples with transformative role' in Native American residential schools

Boarding schools gave trauma to Indigenous children, which has passed down their language, and culture was lost through decolonization. The education was to teach children European American ways. The language, clothing, and dance were forbidden. Pearl Chanar is an Athabascan tribal member who wants the story to be heard. No matter how complicated, shameful, or mixed the history might be. She wanted the land returned, especially if it came from Indians and was no longer used as a church school.

MacDonald, G. Jeffrey. "Episcopal Church grapples with 'transformative role' in Native American residential schools." The Christian Century, vol. 141, no. 8, Aug. 2024, pp. 14+. Gale Academic

OneFile, link.gale.com/apps/doc/A805665990/AONE?u=nm_s_santafeis&sid=ebsco&xid=76e9f7f3. Accessed 5 Oct. 2024.

Social Media helps Native American preserve cultural traditions during pandemic

COVID-19 has impacted Native communities, but they have found a way to come together by creating Facebook pages, instructional videos, and Zoom meetings. Ceremonial gatherings became scarce in 2021 in Native American communities like Wetsits to isolate their elders. It is a risk of oversharing the culture which will cause cultural appropriation. Some traditions are more difficult to share online, particularly those that rely on oral stories told by elders. “Many Indigenous languages are in danger of disappearing forever, as speakers tend to be elderly and fragile health. The pandemic has accelerated the threat.” (Reardon p.2) This quote is important because the language has been limited because of decolonization and the pandemic worsened the deaths of our elder speakers.

Social media helps Native Americans preserve cultural traditions during pandemic." CNN Wire, 8 Feb. 2021, p. NA. Gale In Context: Middle School, link.gale.com/apps/doc/A651128236/MSIC?u=nm_s_santafeis&sid=ebsco&xid=007f0b98. Accessed 5 Oct. 2024.

(Toshowna, DeeAnn. “Home at last ”. Jan 28, 20)

“Kiowa Religion.” Borderlands Project, scalar.usc.edu/works/borderlands-project/kiowa-religion. Accessed 22 Nov. 2024.

Kiowa Religion in historical perspective

One perspective on Kiowa Traditions. Benjamin R. Kracht's “Kiowa Religion in Historical Perspective” discusses Kiowa traditions, history, and the meaning of the dances. Kiowas incorporate traditional, peyote, and Christian symbolism. During the post-allotment period 1901-195, the Ghost Dance movement had a strong following the first two decades of the twentieth century, especially among the Kiowa deemed the most incorrigible by the Indian agents, missionaries, and the newly Christianized Kiowa. Ghost Dance participants supported war dancing and other forms of ceremonial song and dance, and were identified as the “dance crowd.” Dancing was an integral part of the ceremony to help achieve the trances that allowed the participants to visit their deceased relatives. “The Sun Dance was a renewal ceremony where people prayed for the spiritual and physical well-being of their families.” (Kract pg. 4) The Sun Dance symbolizes renewal, gratitude, and connection to the spiritual world.

Kracht, Benjamin R. "Kiowa religion in historical perspective." The American Indian Quarterly, vol. 21, no. 1, winter 1997, pp. 15+. Gale In Context: Middle School, link.gale.com/apps/doc/A20818932/MSIC?u=nm_s_santafeis&sid=ebsco&xid=2f97fef0. Accessed 6 Oct. 2024.

Current State of Issue

UNM professor recruiting Native American teachers to work in their hometowns

“University of New Mexico professor recruiting Native American teachers to work in their hometowns” written by Shaun Griswold. Glenabah Martinez is a professor at UNM who knows firsthand about the benefits that teachers and students share when they are from the same community. Martinez's role is to expand Native American teachers who are fresh out of college or who have a degree to teach Native students. Martinez is compassionate about Native students having a safe education; and connection to their culture and language. “Traditional days for ceremonies are not always in line with the school calendar”. ( Griswold pg. 5) This quote is important because teachers who understand that are Native will give them an extension for the students' work.

Griswold, Shaun. “UNM professor recruiting Native American teachers to work in their hometowns.” Source NM, Source Nm, 6 July 2022, https://sourcenm.com/2022/07/06/unm-professor-recruiting-native-american-teachers-to-work-in-their-hometowns/. Accessed 5 Nov 2024.

Google Doodle celebrates Zuni Culture from one artist to another

Google asked Zuni Pueblo to create paintings of the notable late We:wa. Griswold wrote about the artist who painted the We:wa, Mallery Quetawki. Quetawki signed into a bigger art project of her life and kept it a secret. She brought the We:wa and the Zuni Pueblo alive through her paintings. Capturing the We:wa making a rug or blanket while a traditional song played in the background is from the Olla Maidens.” We:wa became a storyteller and protector of Shiwi songs and dances as a spiritual leader.” This quote brings to light that Zuni is a sovereign nation. That our culture is sacred, should be protected, and should not be exploited.

“Celebrating the Late We:Wa Doodle.” Google Doodles, doodles.google/doodle/celebrating-the-late-wewa/. Accessed 14 Jan. 2025.

Eustace, Kara. "SFIS Plaza", Nov 27,24. Author's personal collection

Global Connections

Resistance: Powerful New Year's Lessons from the Māori Protect

“Resistance: Powerful New Year’s Lessons from the Māori Haka Protest” written by Setche Kwamu-Nana strengthens the spiritual meaning of the Māori protest as a reminder that cultural expression can inspire hope, healing, and the courage to confront injustice. It was a declaration of power, a rejection of injustice, and a rallying cry for all communities fighting oppression. A Māori ceremonial dance that serves as a deeply meaningful expression of unity, defiance, and cultural pride. It also reaffirms how deeply rooted traditions can be harnessed not just for celebration but for meaningful change. Kwamu-Nana who is from Africa, explains that Māori MPS is a powerful reminder of the importance of embracing each other’s cultures. Many formerly colonized nations have been raised to believe that success lies in distancing from their heritage adopting Western idealism erasing languages, and silencing traditions. “Dance, music, art and storytelling have ability to inspire, heal, and transform.” (Kwamu-Nana pg.5). This quote means that the Māori Haka brought global attention to represent a powerful symbol and fought for what is right for their people.

Kwamu-Nana, Setche. “Reclaiming Culture, Identity, and Resistance: Powerful New Year’s

Lessons from the Māori Haka...” Medium, Medium, 18 Jan. 2025, medium.com/@buildingbridges_97484/reclaiming-culture-identity-and-resistance-powerful-new-years-lessons-from-the-m%C4%81ori-haka-6a2431841fcd.

What's to Be Done With Fox? Inuit Teacher Inventing Musical Games for Inuit Classrooms

“What’s to Be Done With Fox? Inuit Teachers Inventing Musical Games for Inuit Classrooms” written by Joan Russell writes about how Inuit storytelling and music are an important part of their traditional songs and how games are culturally defined. Children's songs and singing games have demonstrated their relationship with the culture and values of their communities. Children internalize the values and traditions of their cultures when they engage in singing and singing games. “Songs and musical games, then, are culture-specific in their purpose, value, and contexts of use and production. Carrying the stories, myths, and traditions of the culture that produces them, they reflect a culture’s values and ways of being in the world, and they teach a way of life.”, (Russell pg.20).

Russell, Joan. "What's to be done with the fox? Inuit teachers inventing musical games for Inuit classrooms." Curriculum Inquiry 36.1 (2006): 15-33.

Eustace, Kara. "Native American Indian Day" March 15,24. Authors personal connection

Decolonizing Dance Teacher Educations: Reflections of Four Teachers of Indigenous Dances in African Postcolonial Environments

“Decolonizing Dance Teacher Education: Reflections of Four Teachers of Indigenous Dances in African Postcolonial Environments” by four teachers- Alfdaniels Mabingo, Gerald Ssemaganda, Edwards Sembatya, and Ronald Kibirige writes about several dance teachers and African knowledge. African Indigenous dances were colonized by the British, so they tried to decolonize the dances. Participation in communities of African Indigenous dance practice provided unique experiences, which converted to form and inform their teaching trajections. The dance teachers are sharing African knowledge. The dances are not noted nor are they recorded or written down. They are in the local people and their songs, stories, drum rhythms, folktales, and social interactions. “African Communities have constructed pedagogies of indigenous dances that reflect and honor local experiences. These pedagogies integrate music, stories, cultural origination, social realities, and individual aspirations.” (pg.150) This quote brings light to the African culture because they have constructed pedagogies to preserve their culture. Preserving their songs and dances.

Mabingo, Alfdaniels, et al. "Decolonizing dance teacher education: Reflections of four teachers of indigenous dances in African postcolonial environments." Journal of Dance Education 20.3 (2020): 148-156.