Santee tells us about her visit to the 2009 Canadian Aboriginal Festival, Nov 28-29:
The Canadian Aboriginal Festival moved from the Roger’s Centre in Toronto to Hamilton’s Copps Coliseum this year. At this year’s powwow, I played host to visiting colleague and KDT’s choreographic intern, Louise Potiki-Bryant. Louise is a Maori choreographer and filmmaker working with the collective, Atimira based in Aotearoa (New Zealand). Sharing her first powwow with her made the whole experience extra enjoyable for me. I was fueled by her enthusiasm and respect for the dancing and the drum. At one point she said, “I wish I was from here!” [“Here” being Canada and being First Nations]. When I traveled to New Zealand a few years ago and was enchanted by the island the culture, I held a similar sentiment: “I wish I was Maori.”
Louise and I had been telling individual dancers about the upcoming Aboriginal Dance Training program in Toronto. We sat in the bleachers and soaked in the riotous colours and energy of the dancers. This bird’s eye perspective from the bleachers made it is easy to see the overall movement and distinguish between dancers and find your favorite dancer who you feel is the strongest in the style.
While observing and chatting with Louise about the quality of the different styles and dancers, I was spotted by head judge Dennis Francis. Early this year we were co-judges at the Six Nations Pageant .
Dennis invited me to guest judge the Men’s categories including: Golden Age Traditional, Traditional (straight and contemporary), Fancy Dance and Grass Dance. It was a tremendous honour for me and at the same time nerve wrecking. It was my first time judging a powwow and it was challenging. I was no longer observing from afar but down on the floor where the dancer’s regalia flashed before me eyes playing with my focus. I asked Dennis a few times if he was certain he wanted me. Oh yes…he was certain and there was no backing out.Hearing the drums is always a powerful experience. My attention goes to the high falsettos and to the songs and singers that are unique. Sitting in the circle on the floor, I had a judging coach in my ear, Don Waboose. He gave me advice on what to be looking for in the categories. It’s important to pay attention to everything: foot-work, speed, musicality, which in this case means individual connection to the drum, sway of the regalia, levels of movement, use of honour beats, regalia design, overall presentation and ability to embody the movement style while not excluding individual expression. Similar qualities I look for and develop in my dancers in the studio and on the stage. Translating my dance knowledge and attention to detail to the powwow floor was essential so I followed my instincts. In the end, the dance form is important but to me what is more important is the spirit of the dance and being connected to it by a dancer who is wholly immersed in that world. I made my choices to the best of my ability.
Dennis said later, “I was watching you…I could sense your awe and appreciation of the individual expression.” He was right, and thanks to judging I have an even deeper appreciation for powwow styles.
Nya-weh to Dennis for offering me a great experience.
