The Battle of Wounded Knee The most tragic sequel to the end of the Indian wars is the Battle of Wounded Knee. A religious movement, known as the Ghost Dance, had gained a Sioux following. A Paiute medicine man called Wovoka had a vision that the old way of life could return if Indian people wore holy shirts, lived pure lives and performed the Dance of the Ghosts. The US government feared another uprising and so, in 1890, police came to the Sioux reservation to arrest Chief Sitting Bull. During the attempt to arrest him, shots were fired and he was killed.
In 1871, congress passed legislation that forbade any further treaties with the Plains Indians. This effectively ended any hope for peaceful relations with the Indians. Over the next twenty five years the United States would fight the Plains-Indian War. Many generals who had participated in the Civil War used total war tactics against the Indians. They burned entire villages and by 1882 had nearly caused the wild buffalo to go extinct (Doc.
This inspired Christopher to be more concerned towards the Chilean people; therefore, he constructed this beautiful choreographed piece, to express the horrible past, the suffering of the innocent people. Throughout the dance, all together there are eleven dancers, three Ghost Dancers and eight Folk Dancers. We see the villagers carrying on their everyday lives, most likely knowing that their lives were in danger and the Skeleton like ‘ghosts’. Christopher choreographed the dance using traditional folk movements and traditional folk music. The song used in the dance is called ‘Ojo Azules’ By Incantation.
This was kind of what tom thought when he had to go to the reservation with Blue Elk. Tom thought that all other Indian had turned white in not learning the old ways. All in all, there are many similarities between Tom and Billy and the old/new ways. First, because Billy is Indian, many people think he is a quitter. But, they were in for a real treat with Billy.
Government policy attempted to destroy tribal culture and assimilate Indian people into mainstream culture with many negative results. The Ghost Dance represented a last attempt to resist American policies and practices. Throughout the nation, Indian tribes adjusted to their circumstances with mixed results. In 1871, the U.S government formally ended the treaty system, but not completely abolishing the sovereignty of Indian nations. Majority of Indian people lived in poverty and misery, deprived of their traditional means of survival and more often than not, subjected to fraud by corrupt government officials and private suppliers.
Witnessing a timeless and contemporary piece called “Blak,” performed by the Bangarra Dance Company was a moving and inspirational performance. It was held at the Opera House and was created by a number of choreographers which all had an indigenous bloodline. Blak explores experiences between traditional and contemporary clans within indigenous Australians. It reveals a narrative structure contrasting with original choices. It explores the realms of manhood, connection of place and identity.
When a Kwakiutl chief’s sister and her daughter were presumed dead after not returning from a trip to Victoria, the chief gathered together his warriors. Collectively, they determined that some of the tribe would be required to ‘wail” die, to remediate the chief’s loss. The warriors then formed a war party, and killed seven men and children whom they discovered sleeping. Not only were these individuals innocent of any involvement in the disappearance, they were not even aware of the chief’s loss. After committing these murders, the warriors “felt good” (140), believing they had successfully wiped out the affront against their tribal chief.
“Fear Hurts” The character that I have chosen to write about is Augustus Sullivan, or Gus, the guide for General Moustache who directs the American soldiers into battle after they hear that the Native Americans had slain 25 white people. Gus, who is a well-respected white man of the United States Army, is someone who Zits tries to immediately control away from Gus’ intentions, but he is unsuccessful (Alexie, p. 85). Instead, he guides the white people, the same people he had grown to hate, into a Native American camp to slaughter his ancestors. He watches as Indian men, women, and children are obliterated by the men he took to their camp, as people are murdered at ferociously close distance. When all hope for any Indian survivors is lost, a “white soldier races towards Bow Boy” and “without stopping, the white soldier reaches down and picks up Bow Boy.
The chapter ends with O'Brien telling us what followed Lemon's death: when the unit comes across a baby water buffalo. Rat Kiley, encompassed with anger and gloom due to his friend’s death, shoots the baby buffalo consistently, yet does not fully kill it. These stories reveal that a true war story, is never about war; but rather these stories are about love, memory, and sorrow. More importantly though, we learn that not all true war stories are true. They are what we make them out to be: consisting of fragments of the imagination mixed with some
He shows that tapping can be done to any beat you feel; in any kind of way you feel it. Tap dancing is a lot like jazz music in this way, because there is no one correct way to play jazz music. Like jazz, tap comes in so many styles that there is no one specific way of doing either that would be considered the correct way of doing it. Last but not least I learned that tap dancing should be fun. Whenever the characters were dancing, they were having fun, and that is what tap truly seems to show, is that it should always be