Brief Historical Overview of the Sisseton-Wahpeton Oyate of the Lake Traverse Reservation South/North Dakota (October 2000)

The following information was copied from the Sota website.

The Sisseton and Wahpeton Bands are subdivisions of the eastern or Dakotah Indians and are two bands of the eastern Santee Division, who speak the Dakotah language with the "D" dialect. The other divisions of what often is referred to as the Great Sioux or Dakota/Lakota/Nakota Nation consist of the western Teton division and the middle Yankton division who speak the "L" and "N" dialects respectively. The word "Dakotah" can be translated into English as "friend" and is the preferred identification of the Sisseton and Wahpeton bands. The real significance of the word, "Dakotah" derives from the word 'WoDakotah," which means "harmony", "a condition of being at peace with oneself and in harmony with one another and with nature", and "a condition of lifestyle patterned after the natural order of nature". Within the three major divisions of the Dakota-Lakota-Nakota Nation, there are 7 major bands, who are referred to as the Seven Council Fires. In consideration and respect for this alliance, the Sisseton and Wahpeton Bands have erected seven torches in front of the Dakota Magic Casino's entry, and each torch is representational of each of the seven bands among the Dakota-Lakota-Nakota people. These seven torches also are representational of our seven district council communities on the Lake Traverse Reservation. In summary therefore, the three major divisions and bands within each division of this nation are as follows:

DIVISION: BANDS (council fires):

1. Eastern-Santee-Dakota:

1. Spirit Lake People (MdeWakantonwan)

2. Shooters Among the Leaves People (Wahpekute)

3. People Dwelling among the Leaves (Wahpetonwan)

4. People of the Fish Village(s) (Sissetonwan)

2. Middle-Yankton-Nakota:

5. Dwellers at the End - Yankton Ihanktonwan)

6. Little Swellers at the End - Yanktonai - (Ihanktowanna)

3. Western - Teton - Lakota:

7. Dwellers on the Plains - (Titonwan)

-7 Major Subdivisions of the Teton:

1). Oglala (Scatter their own) - Pine Ridge

2). Sicangu (Burned thighs) - Rosebud & Lower Brule

3). Hunkpapa (End of Circle) - Standing Rock

4). Mnikowoju (Planters beside the Stream) - Cheyenne River

5). Sihasapa (black foot) - Cheyenne River

6). Oohenunpa (two kettle) "

7). Itazipco (without bows) "

At time of initial contact in the mid-1700s with European traders and missionaries such as Father Hennepin, the Sisseton Wahpeton bands resided in villages extending from Manitoba, Canada, to the present homelands here on the Lake Traverse Reservation, and further south in Minnesota and northern Iowa. In the mid-1850s, other missionaries such as Rev. Stephan Riggs identified and described the villages of the Sisseton and Wahpeton bands, noting that a typical village ordinarily would consist of 25 to 150 lodges, and each village was comprised of what is called tiospaye, meaning one's extended family. Rev. Riggs reported that in the 1850s the many Sisseton Wahpeton villages had a population ranging from 5,000 to 9,000 residents.

Noted writer and keeper of the traditions, Ella Deloria, correctly stated years ago that KINSHIP IS THE FOUNDATION OF DAKOTA LIFE AND VALUES. From historical times onto the present time, kinship continues to be involved in our Dakota, Sisseton Wahpeton, social life, our economic life, and our political life. In the center of our values is the inner core and circle of immediate family consisting of the father and mother with their children, which is called TIWAHE (immediate family). The brothers and sisters of the father and mother in family are not only considered as in-laws and uncles/aunts, their children become brothers and sisters to the offspring of the brothers and sisters. This inter-relatedness is called TIOSPAYE (extended family). When members of one extended family are related to another extended family, wherein one tiospaye is related to another tiospaye, this extends the kinship to what is called OSPAYE (band), such as the Sisseton Band and the Wahpeton Band. Historically, members of a tiospaye or extended family lived together in a village of lodges numbering 50 to 150 lodges, and as the village grew in numbers, often new villages would form and physically separate from the original village of origin.

Within each Dakota village, the goal of achieving harmony and well-being was strictly enforced by special organizations or societies. The governing society of a village was called the TIOTIPI or Soldiers Lodge, and its members consisted of males from the ages of 9 years to elderly members of the village. From their midst, officers were selected such as a spokesman, often called Chief, as well as his assistants, and other officers were selected which included keepers of the Sacred Pipe, Drum, Eagle Staff, Whip, and so forth. Deliberation and consensus was the form of achieving decisions within the structure of this governing Soldiers Lodge, wherein all males in the village had a seat and voice.

Additional to the Soldiers Lodge, there were other societies within the village, such as the red owl feather or mawatani society whose responsibility consisted of assuring that there would be no exercise of jealousy among the families in the village. Warrior societies such as the Kit Fox and Badger or Brave Hearts were the special forces of the governing Soldiers Lodge, and served primarily as defenders of the people in times of war. Often these societies were comprised of family members whose specialty was in negotiation, warfare, hunting, or other civic purposes.

The old people who came from these times, prior to 1862, and were a part of the establishment of the Lake Traverse Reservation, often referred to those times as one of innocence and purity, wherein the lifestyle of the Dakota people was not only pure, but also euphoric. It was very difficult to do wrongdoing in those times, as the societies in the village assured that everyone had to obey the traditional Dakota virtues which include RESPECT for other persons and their property, SHARING one's earned goods and food with those in need, BRAVERY in regard to freely offering one's life in battle for the village so that the village can survive, COMPASSION for everyone in the village, and therefore offenses and crimes were virtually unknown in those times.

In those times, the Sisseton and Wahpeton people considered themselves as a CIVILIZED PEOPLE by virtue of the fact that the WHITE BUFFALO CALF WOMAN had come to the Dakota-Lakota-Nakota Nation to give them the Sacred Pipe and with this Pipe, the Seven Sacred Rites and Ceremonies which foster and enhance a civilized way of life. Most of all, these ceremonies enhance the value of KINSHIP, and as an example, if one's parents died, whether from sickness or other cause, the RITE OF HUNKA, adoption, immediately was performed so that the orphan always would have a mother, father, and siblings. From the time of one's birth to the time of one's funeral, the Dakota people utilized appropriate rites and ceremonies for each stage of life, to foster and promote the name that lead been given to them, WODAKOTA, which means the condition and stability of harmony and well-being in the village. It is for such reasons, that the old people would say that this way of life was CIVILIZED and EUPHORIC, and fostered HARMONY and KINSHIP.

It is for such reasons, that the old people often said that there was no poverty in those times, and that the people were wealthy corporately and as individuals. They also have stated that it was very rare for anyone to openly display anger, aggression, or violence in the village, since the value of harmony and peace permeated the entire community. The old people also have stated that the people had to have considerable wealth, as the cardinal Dakota virtue consists of GENEROSITY, and in order to be generous, one must have goods and resources to share with others, which come from one's exercise of personal responsibilities, whether in hunting, warfare, or in agricultural endeavors.

This same system of living in a civilized way upheld the value of women in the family and in the community. It is the woman as spouse who owns the lodge and decides who lives therein and who is welcome in this home. Dakota theologians have likened the role of the woman to that of the tri-pod, which are the three foundational tipi-poles used to erect the tipi. The husband is the covering for this lodge, and the children are the pegs which hold the tipi to the earth. The sacred Pipe of the Nation was brought to the people by a sacred woman who also instructed the people in regard to the sacred seven rites and ceremonies of the Dakota-Lakota-Nakota people. In the family, the wife and mother also is the instructor about the ways of the Pipe and the ceremonies, and during certain ceremonies, it is the woman who holds the sacred Pipe during the enactment of the ceremonies. The woman is considered as a co-participant with the Creator since in giving birth to a child, she participates with the Creator in the creation of new life for the family and the community. Her role therefore is significant, and the greatest respect and honor must always be shown to the woman in the home by the spouse, children, and all members of the household. Historically, therefore, the Dakota people considered this view of the woman's role in the family and community as CIVILIZED. In this same context, the Dakota people call the earth their MOTHER who gives life to all plants and creatures, and at all times, the traditional Dakota people require that respect and honor always be shown to their sacred mother, the earth.

Commencing in 1815, contact with Euro-Americans occurred and as the decades of the 1800s continued, the Sisseton Wahpeton bands would be detrimentally impacted by contact and relations with white settlers who entered their homelands and villages. From 1815 to 1858, the United States negotiated under show of armed force a series of treaties with the Sisseton Wahpeton bands, which essentially involved land cessions with promises to pay for these cessions with goods and cash. In Minnesota, many of the Sisseton and Wahpetons were assigned to a reservation, and furthermore were subjected to federal Indian agents and missionaries who viewed their way of life and religious practices as pagan and unlawful. The Sisseton and Wahpeton people were required to relinquish their village form of life and practices and were urged to settle upon individual tracts of land and to become farmers. They also were urged to cut their hair and wear factory made clothing appropriate for farmers. Finally, they were urged to banish their own spiritual leaders and medicine men and become christians. In reviewing this drama of enforced acculturation of an indigenous people, Vine Deloria Jr. and others in assessing the impact of such policies have commented: "When the missionaries first came, we owned the land, and they owned the Bible; now, we own the Bible and they own the land".

In late summer of 1862, the eastern bands of the Dakota people in Minnesota had not received their treaty-committed goods and payments, and conditions agriculturally had brought them to a point of starvation and desperation. The policies of acculturation and assimilation furthermore had served to create factions and hard feelings among the families of the eastern Dakota, to such an extent, that groups of the eastern Dakota in August of 1862 declared war and began warfare in the Upper and Lower Sioux Reservation areas in Minnesota. The Army under General Henry Sibley succeeded in bringing this Dakota War to a halt in the late fall of 1862. Thereafter, many members of the eastern Dakota bands were rounded up and incarcerated at Fort Snelling, Minnesota, as well as at Mankato, Minnesota. A military court was convened and as a result, 300 of the Dakota leaders were tried and sentenced to death by hanging. President Abraham Lincoln after reviewing these cases commuted the death sentences of all except for 38 of the chiefs and war leaders, and ordered them to be executed. On December 26, 1862, the Army executed by hanging all 38 of these eastern Dakota war leaders at Mankato, MN. In the aftermath of this mass execution of the eastern Dakota leaders, Congress enacted legislation which abrogated all previous treaties with the Eastern Dakota bands, and furthermore ordered all Eastern Dakota bands banished from the State of Minnesota. Often it has been said by the Old People that the civilized way of life of the eastern Dakota bands came to an end at the time of the execution of the 38 eastern Dakota leaders at Mankato, MN, on December 26th, 1862, one day after christmas, the observance of the birth of the savior.

Sisseton and Wahpeton war leaders who had been acquitted then were recruited by General Henry Sibley as scouts and were assigned the task of accompanying the Army to Dakota Territory in order to capture the balance of the eastern Dakota band members who had escaped there and many fled to Canada. On the western edge of the Lake Traverse Reservation, the Army established Fort Wadsworth, later re-named Fort Sisseton, where the Sisseton Wahpeton leaders, under force of Army Cannon, were ordered to establish up to 30 scout camps where they were to detect any of the other Dakota people who had escaped from Minnesota and were trying to return to Minnesota. General Sibley's orders to the Sisseton and Wahpeton Scouts were very clear, as he ordered them to TAKE NO PRISONERS, and should they fail in regard to this order, they and their families themselves would be killed by the Army. The scouts followed their orders to the letter, and approximately 150 prisoners were executed.

Since the Army could not justifiably exterminate the scouts and their families numbering approximately 1,500 Sisseton Wahpetons, the government consented to allow the Sisseton and Wahpeton leaders to request Congress to create a special reservation for them. On February 19th, 1867, Congress approved the request of the Sisseton Wahpeton leaders, and the Lake Traverse Reservation was established pursuant to provisions of Treaty. This Sisseton Wahpeton Treaty however contained many policies of acculturation which included the requirement that the reservation be allotted to members of the tribe, that schools be established, and that a tribal government would be authorized as well as a tribal police force.

From 1884 until 1913, the Sisseton Wahpetons utilized an adoptive from of tribal government based on the model of the Soldiers Lodge, however the federal Indian agents and missionaries strenuously opposed this form of tribal government, preferring that christianized members of the community comprise the elected positions on the tribal council. In 1913, owing to conflicts and turmoil, the federal Indian agent at Sisseton Agency abolished the tribal government and established an advisory committee, comprised of church elders and others who were amenable to government policies of enforced acculturation and assimilation.

In 1934, the government urged the Sisseton Wahpetons to adopt the Indian Reorganization Act, however sufficient families on the Lake Traverse Reservation were influential enough to defeat this proposal, stating that their Treaty of 1867 still remained in effect, and that the Sisseton Wahpeton people can and should organize its own government pursuant to provisions of this treaty. In 1946, the Bureau of Indian Affairs approved a Constitution and By-Laws which returned governance to the Sisseton Wahpeton people, citing authority to do so from the tribe's Treaty of 1867.

In 1978, Congress approved the American Indian Religious Freedom Act, which recognized that tribes and their members have the right to practice their own religious beliefs, rites, and customs, and can utilize their own language. Since enactment of this law which finally granted freedom to the Sisseton Wahpeton people to practice their own religious and cultural ways, the overwhelming task of renewing and sustaining the human and natural resources of the tribe and its communities on the Lake Traverse Reservation has been challenging for contemporary tribal leaders.

It is said that in 1867, the people could drink water from any of the streams and lakes on the Lake Traverse Reservation, and that fish and game always were in great abundance. When the Sisseton Wahpeton leaders were banished from their homelands in Minnesota in 1862, they paid a heavy price in order to acquire a new homeland, and now this homeland in the name of progress and productivity has become polluted. The Sisseton Wahpeton people are urging their leaders to restore the lakes and streams, and they are asking for safe water to drink. The small band of refugees in 1863 consisted of only 1,500 tribal members, and today there are close to 11,000 Sisseton Wahpetons on their homeland who want to be keepers of their mother, the earth, whether with regard to her water, the food, and the wildlife.

The Sisseton Wahpeton people know that renewal and new life cannot come from their efforts alone, that our brothers and sisters from across this land from other tribes and nations must come together to bring about this renewal. Our young people who comprise over 45% of our enrollment and the children yet to be born require us to unite, and set forth an agenda for renewal and hope.

Differences in Native, non-Native culture
Lesson in Traditional Native Culture
The following information is adapted from information included in presentations by Sisseton Indian Health Service (IHS) personnel.

Values are defined in the following ways: Interrelated ideas, beliefs, and practices, to which strong feelings are attached; integral part of every individual; in general terms, can often be identified as being characteristic of a group of even a nation; very slow to change in comparison to the more superficial items (for example, clothing, shelter, "trends") of a culture; represent the "heart" of a culture, reflect and are derived from its language, social structure, economic, and physical stages; contain the established ideals of life, a culture's "way of life"; and provide an emotional stance to be used as a yardstick for judging behavior.

Recognizing that these are generalizations, and that most people's values (and behaviors) lie someplace between them, here is a comparison between Indian and non-Indian value systems:

Indian Values

Time is unimportant. Clocks are not watched. Things are done as needed. Often the family gets up as the sun rises and retires soon after the sun sets. "Indian time" means when everyone gets there. A community meeting may be set for 1:00 p.m., but people come as much later as they wish, so the meeting may begin an hour or two later. This bothers no one. (Additional: If people gather before a scheduled event, it may begin earlier than announced. I have seen funeral services begin before the scheduled time, but this may be unusual. But if you are anxious to see the grand entry at a wacipi, and come "on time," better be prepared to relax for up to a couple of hours before it happens.)

Non-Indian Values

Time is important. Time is of the utmost importance. When someone says they will be somewhere at 10:00 a.m., they must be there at ten. Otherwise, it is felt they steal another person's time. More and more, non-Indians rush. In these cultures, it is felt that using time to its fullest extent is good.

Indian Values

Today concept. Indian people generally live each day as it comes. Plans for tomorrow often appear to be left until the future becomes the present -- although gathering, harvesting, and storing of foods for winter months was a traditional method of survival for many tribes.

Non-Indian Values

Tomorrow concept. Non-Indians constantly are looking toward "tomorrow." Such items as insurance, saving for college, planning vacations, and so on, suggest to what extent non-Indians hold this value.

Indian Values

Patience. To have much patience and to wait is considered to be good and respectful.

Non-Indian Values

Action. The person admired is the one who is quick to act. They get things done and move on quickly to the other things. To sit idly, and let the competitor pass by acting more quickly, is considered bad.

Indian Values

Shame. The Indian community groups often shame an individual (to instruct, or encourage re-entry into what is considered by the group to be acceptable behavior), but once this is accomplished, no lingering guilt is felt by the individual.

Non-Indian Values

Guilt. After a non-Indian commits an act that he or she believes to be wrong, he/she carries inside the burden of having done something wrong. This terrible feeling may make them ill mentally and physically.

Indian Values

Extended family. Aunts often are considered to be mothers. Uncles are called "fathers," and cousins are brothers and sisters of the immediate family. Even clan members are considered relatives, so that Indian cultures consider many more individuals to be relatives than do non-Indians.

Non-Indian Values

Family. The biological family is often of the utmost importance, and relationships are often limited to this group.

Indian Values

Age. Respect is given elders, for it is believed that experience brings knowledge. The older one is, the more knowledgeable he or she is. No effort is made to conceal white hair or other signs of aging.

Non-Indian Values

Youth. Millions of dollars are spent annually for hair dyes, make-up, and other items to make older people look younger.

Indian Values

Few material things. Members of the tribe are often suspicious of individuals who collect many material possessions. Some tribes, the Sioux for example, even hold celebrations and give away most of their possessions to others as "love gifts" (giveaways).

Non-Indian Values

More and more, non-Indian cultures value the acquisition of material things. Many such possessions become status symbols and are considered highly desirable.

Indian Values

Giving. The person respected in many Indian cultures is the one who shares his/her wealth with others (sharing knowledge, experience, and material goods.

Non-Indian Values

Saving. An individual with the quality of thrift is believed to have acquired a value worth much.

Indian Values

Man lives in perfect balance with nature, ideally. The earth is given by the Creator to enjoy. If one accepts it as it is and lives with it in harmony, there will be no sickness or lack of food.

Non-Indian Values

Man controls nature. Constantly, the non-Indian culture searches for new ways to control and master the elements. Artificial lakes are made; natural waters are drained; in general, the natural environment is altered, paved and pushed into shapes and conditions that may not allow continued survival for all.

Here is another model highlighting some of the cultural differences. Indian values are cited first, non-Indian values following in each instance:

*Indian: Live in harmony with nature. Non-Indian: Must have mastery over nature.

*Indian: Present time orientation. Non-Indian: Future time orientation.

*Indian: Explanation of natural phenomena -- mythology. Non-Indian: Scientific explanation for everything; nothing happens contrary to explainable, natural law.

*Indian: Level of aspiration -- follow in ways of the old, traditional people. Non-Indian: Climb the ladder of success, each expected to achieve a higher level than parents.

*Indian: Cooperation. Non-Indian: Competition.

*Indian: Anonymity. Non-Indian: Individuality.

*Indian: Submissiveness. Non-Indian: Aggressiveness (socially acceptable).

*Indian: Work to satisfy present need. Non-Indian: Work to get ahead.

*Indian: Share wealth. Non-Indian: Save for the future.

*Indian: "Time is always with us," Indian time. Non-Indian: "Time lost can never be regained."

*Indian: Humility. Non-Indian: Win first prize if at all possible, or at all costs.

*Indian: Win once, let others win. Non-Indian: Win all the time.

Children's Place in Circle

In indigenous cultures, children have always had high esteem, viewed as "gifts" of the Creator. From a Native perspective, the child would be the inner spoke of a medicine wheel.

From that center, each outward circle might be seen as the following: mother, father, siblings; maternal and paternal grandparents; aunts, uncles, cousins; elders; extended family tiospaye; and the community (clan, band, or tribe).

This model contrasts with non-Native cultures which separate the nuclear family from other relatives and other members of the community.

Differing Communication Traits

Another way of assessing differences is in how people communicate with one another, their body language for example.

Here are several generalizations concerning differences between indigenous and non-Native cultures:

*Situation: Eye contact during conversion. Indian: Very little eye contact; most conversation conducted while looking away from each other; direct eye contact may be considered disrespectful to other person. Non-Indian: Eye contact is continuous or nearly continuous during conversation; lack of eye contact considered lack of respect, not paying attention to the other.

*Situation: Manner in speaking voice. Indian: Tends to pitch voice lower and speak more softly and slower. Non-Indian: Tends to speak with a higher pitch and faster and louder.

*Situation: Custom of handshake in greeting others. Indian: Traditional handshake is soft with only one or two "pumps" of a gentle nature, gentle pressure. Non-Indian: Handshake is firm, with several "pumps" of the hand; premise is that the firmer and longer the handshake, the more sincere the greeting.

*Situation: A Native and non-Native try to communicate. Indian: Is in no hurry to begin a conversation, is not uncomfortable with periods of silence at the beginning of, or during, conversation. Non-Indian: Feels must get conversation going quickly, is uncomfortable with silence, thus tends to be over-talkative.

*Situation: Communication between people of brief acquaintance. Indian: Tends to express openness, informality, and friendliness; willing to believe the best about people. Non-Indian: Tends not be open to people of brief acquaintance; personal thoughts not usually expressed at first meeting while trying to determine if this person can be trusted.

*Situation: Answer to a question. Indian: Reply is delayed until facts are sifted through; thus, a few moments of "silence" may be appropriate before making a reply. Non-Indian: Reply is immediate although the first words of a conversation often contribute little to the answer; may talk while formulating answer.

*Situation: Explanation given by a non-Native to a Native person. Indian: Nodding of the head and exclamations made indicate understanding of what is being said only, not necessarily agreement. Non-Indian: Assumes that Native gestures mean agreement and understanding.

*Situation: Verbal manipulation. Indian: Verbal manipulation, for example "selling" techniques and promotion devices, are not used; being humble is important. Non-Indian: Feels that to a large extent a person's success in life depends on skills to influence, or manipulate, others.

*Situation: An anxiety provoking social situation. Indian: Remains motionless and watches for cues from others or from the situation; once the pattern, or situation is interpreted, only then is action taken. Non-Indian: uses "aggressive experimentation," to try again, until the pattern is discovered and/or the situation no longer exists or is a threat.

Models of Lifestyle, Control

There are other ways to compare and contract indigenous and non-Native ways of life. For example, North American indigenous peoples were traditionally hunters, food gathers, herders, and/or horticulturalists, before contact.

With European immigration came agriculture, technology, and an industrial way of life.

Labeling these general ways of life as "traditional" and "industrial," here are other differences (note -- there is overlapping in these models):

*Traditional: Relative equality among people; horizontal social power organization. Industrial: vertical power hierarchy, with authority coming from the top down.

*Traditional: Generalists. Industrial: Specialists.

*Traditional: Self-sufficiency, sharing, for survival. Industrial: Dependency and self-organization, for survival.

*Traditional: Extended family. Industrial: nuclear family.

*Traditional: Socio-cultural values are pre-determined. Industrial: Self-determination, choices.

*Traditional: Openly spiritual, close to nature; power comes from within (pervasive wakan); spirituality entertwined in daily living. Industrial: Education and knowledge are power; pen is mightier than the sword; formal religion; spirituality less directly involved in day-to-day life.

*Traditional: No need for formal contracts; trust and respect. Industrial: Socio-legal systems, self-gain; mistrust.

*Traditional: Land is sanctuary; not subject to private ownership. Industrial; Land is property, to be bought, sold, used.

*Traditional: Time is meaningless. Industrial: Time is money; great emphasis on time.

*Traditional: Nomadic, freedom of movement. Industrial: Dependence upon standardization, internalization; tied to time clock, job.

Visitor's guide to the 138th annual Sisseton-Wahpeton Oyate Wacipi

Welcome to the annual Sisseton-Wahpeton Oyate Pow Wow or Wacipi, as it is known in the Dakota Language. The 138th annual wacipi is being held June 30-July 3, 2005.

This event is the longest-running annual event in South Dakota and one of the oldest established celebration throughout the United States.

Open to the public, the annual pow wow is always well attended and draws more foreign tourists than any other event in the Glacial Lakes region. This visitor's guide was developed by the Institute for Dakota Studies, Sisseton Wahpeton College, to assist visitors in the enjoyment of the wacipi – a gathering of the people to celebrate with traditional songs and dances.

A wacipi was originally a spring event held to celebrate the seasonal renewal of life. People would congregate to sing, dance, renew old friendships, and form new ones. Pow wows held a religious significance as an opportunity for families to hold naming and honoring ceremonies. In the Dakota tradition, the celebration was also a prayer to what in Dakota is called Wakan-Tanka, the Great Spirit, the Creator, or Grandfather. The word "pow wow" is traced by some to the Algonquin language and is believed to have been used by non-Indians to mean, in general, a council or meeting.

Today, pow wows are still very much a part of the lives of members of the Sisseton-Wahpeton Oyate and for other American Indians. While some begin as early as March, the "pow wow season" normally runs from June until September (with some notable exceptions, such as the Sisseton-Wahpeton Veterans Day Pow Wow and May graduation pow wows). Pow wows are held every weekend, often at several locations simultaneously during peak periods. Many families pack up and "go on the pow wow circuit," camping out and enjoying the traditional celebrations of singing, dancing, and seeing old friends not since the previous season.

Competitive singing and dancing for prize money is a relatively recent change in the pow wow. In a contest pow wow, prize money is awarded to top point-getters at the culmination on the last day of the pow wow. Purses have increased significantly at many pow wows.

Just as all pow wows have changed somewhat over the years, so has the annual pow wow of the Sisseton-Wahpeton Oyate been changing. Most spiritual ceremonies -- for example, naming ceremonies -- have recently been excluded and are no longer part of many pow wows. But special memorial and honoring ceremonies, and ceremonies for fallen eagle feathers, do continue.

It is important to note that the Sisseton-Wahpeton Oyate of the Lake Traverse Reservation are working to return to the spiritual and traditional roots in their annual wacipi as well as in other aspects of community life.

The circle is an important symbol to Dakota people. It is used extensively during wacipi. The dancers come to the center of a circle, the drums and the audience form a circle around them, the concessions form another circle around the gathering. The pow wow brings the circle of Sisseton-Wahpeton people closer to family, friends, and to the Dakota culture.

Grand entry

A pow wow begins with the grand entry. Spectators should always stand and remove caps or hats during grand entry, flag songs, honor songs, and invocation or other prayers. The grand entry itself is likely derived from rodeos and wild west shows; it is the parade of honored persons and dancers which opens each session of pow wow dancing. Dancers demonstrate their style and regalia.

All dancers are requested to take part in the grand entry. (In a contest pow wow, they can lose points or risk elimination for failing to do so.)

Because of the tradition of honoring akicita, or warriors, veterans are also prominent in most pow wow grand entries, and the Sisseton-Wahpeton pow wow is no exception. Watch for the flags to be carried by veteran honor guard members.

Special tribute will be given this year, as in 2004, to those soldiers now serving in harm’s way in the Middle East War.

At the head of the procession, the eagle staff is carried into the circle -- signaling the opening of the grand entry. It is followed by the American, Canadian, state, and tribal flags.

Title holders from tribal pageants, such as Miss Sisseton-Wahpeton Oyate and Junior Miss Princesses, enter next, followed by invited dignitaries and honored guests.

Male dancers then enter with traditional dancers first, then grass dancers and fancy dancers.

Incidentally, the "grass dancers" are a holdover from many years ago. These dancers would come onto the field first, to trample down the tall grass and thus make ready the pow wow grounds for other dancers who would come later. Earlier this week, many of the local Dakota Oyate, including grass dancers, gathered here at the Tribal ceremonial grounds for a special "blessing ceremony." Prayers were invoked over the grounds, and the grass dancers performed this traditional trampling down of the grass.

Junior boys, then junior girls, follow in the same order as the adults. The last to enter the arbor are the little boys (tiny tots -- traditional and fancy dancers), and little girls (tiny tots -- traditional and fancy shawl dancers).

The dancers come clockwise, or sunwise, showing the audience, singers, and other dancers, that they are dressed and ready to dance. They show their outfits or regalia (the term "costume" is believed by many to be derogatory and its use is not appropriate) and their steps, letting people know who they are and what they can do.

When the grand entry song ends, there is a flag song (honoring the American flag) and a victory song (honoring akicita and for all the oyate, the people), then an invocation blessing the gathering. The eagle staff (positioned above the American flag to signify the first nation) is tied to the pole in the center of the arbor or brought to the announcer's stand. The dancing then begins.

Types of songs and the drum

Dakota people create different types of songs for different occasions, such as grand entries, dance categories, and honoring ceremonies. While they differ in tempo, words, and emotion, pow wow songs all follow a similar structure.

There are songs for all occasions, such as honor songs, veterans songs, and war party songs.

Many pre-reservation songs have been put aside in favor of the large number of newly created ones.

Some groups sing only their own songs, others borrow songs and perform their own as well.

The songs are not written, but tape recorded and then learned by both singers and dancers.

Singers are not judged by the sweetness of their voices. In the Northern Plains, the higher parts of the song are sung falsetto and the melody gains energy and rhythm as the voice descends. The sound is produced at the back of an open mouth and throat. The volume and quality of the voice depends largely on well-developed abdominal muscles. Singers are judged on the range, volume, strength, and expressive quality of their voices as well as how they blend with the rest of the group. Women sing an octave higher than the men and sometimes join the men in songs. Women may "trill" at special places in the song to indicate deep emotion such as joy or appreciation of the song.

The drum is an essential ingredient of the pow wow. These sacred instruments come from many sources. Some are handed down in a family, others are donated to a drum group. Older drums are made of deer, elk, horse, or buffalo hides, but contemporary bass drums can be purchased, renovated, and finally blessed, and considered sacred as are the older drums.

The drum is more than a musical instrument. It has its own life. Some drum groups have gone through ceremonies to have their drums blessed and named. The drum is regarded as possessing its own powerful spirit. Gifts are made to the drum, and a drum may have its own sacred medicine pipe.

In some traditions, the drum symbolizes the heartbeat; in others, the powerful medicine of thunder.

The drum is always treated with respect. Nothing is set on a drum, nor does anyone reach across it.

The beat of the drum is like a heartbeat, starting slowly, then beating more quickly as the singers move ahead in the song. The drumsticks connect the singers to the power of the drum as they sing. The drumming is judged by the rhythm of the song.

Usually drum groups are judged only on the songs they sing for the dance specials and on intertribal songs. There are many different kinds of rhythms and drumbeats played as required by the type of contest song. The drumbeats must be in perfect time, each player must be in unison.

People unfamiliar with pow wows should remember that the term "drum" also refers to the drum group itself.

There are many well-known drum groups from the Sisseton-Wahpeton Oyate. Many play at area and regional pow wows, some have been asked to perform at national events and sites, ranging from California universities to the Smithsonian Institute in Washington, D.C. Among the well-known groups are Grey Fox, Wahpekute, Ridge Runners, Buffalo Lake Singers, Dakota Nation, and the Tiospa Zina Tribal School Drum.

Types of dance

To understand and appreciate pow wow dancing, it is helpful to be familiar with the different dance categories. In general, there are separate dance divisions for men, women, juniors, and tiny tots, as well as separate contests for men and women over 50 years of age.

For men, there are three different dance competitions: traditional, fancy, and grass dancing.

The men's traditional dance began when war parties would return to the village and "dance out" the story of a battle and when hunters would dance their story of tracking and then capturing prey. The outfit of the traditional dance is more subdued in color than that of other dancers. Frequently decorated with bead and quill work, the circular bustle of eagle feathers represents cycles and unity. The eagle feather spikes on the bustle point upward, representing a channel between the Great Spirit and all things on earth. Traditional dancers are often veterans and carry items which symbolize their status as warriors -- shields, weapons, honor staffs. The traditional dance step is done with the ball of the foot touching the ground on the first beat, and the whole foot on the second beat. Dance movements are patterned after animals and birds as an imitation of tracking or of the animal itself.

The men's grass dance originated with the Omaha Tribe, probably in the 1860s. A very popular dance, outfits feature colorful fringe. The basic step of the grass dance involves the ball of one foot being tapped on one beat and placed down flatly with the next. Weight is shifted from foot to foot.

Men's fancy dancing is relatively new. It is more a freestyle dance with fancier footwork, increased speed, acrobatic steps, and varied body movements. Most dancers wear brilliantly colored bustles. Dancers must stop with the music with both feet on the ground.

Traditionally, women danced only to certain songs or on special occasions and usually in the background. The women's traditional dance consists basically of remaining stationary and bending the knees with a slight up and down movement of the body. Most women traditional dancers wear or carry a shawl, some carry an eagle or hawk feather fan.

The women's fancy shawl dance is relatively new. Outfits consist of a knee length cloth dress, beaded moccasins with matching leggings, a fancy shawl, and jewelry. Footwork is the chief element of the fancy dance, the style moving toward more movement, especially spinning.

The jingle dress dance had all but died out at one time, but interest has been rekindled and now women from many tribes make and wear them. The jingle dress cannot be mistaken. It is made of cloth and covered with hundreds of metal cones, or jingles.

All people, including tourists in the audience, are welcome to dance during a round dance. The round dance is a chance for everyone to dance moving clockwise around the arbor. Street clothes are acceptable, no special regalia is necessary.

Additional information about the men's bustle or "Crow"

James Steele adds the following information concerning the bustle or "crow," as it was originally called: There was no circular piece in the old days but a square. The two feather spikes represent two slain warriors and the quills themselves represent arrows and should be tipped with red horsehair. The two trails of feather represent going and coming, and the name crow comes from the bird because of its keen sense of smell -- especially of dead flesh. Other feathers included in the original crow were magpies, buzzards, and eagles . . . because that was the order they would appear after a battle. The small shells or bells attached to the spikes represented the sound of the battle. Only men with great war honors or feats wore the "crow." The 5 x 5 center piece was made from an entire eagle skin, and other bird skins (crow, magpie) were used as decoration.

Other aspects of the pow wow

There are several interesting aspects of pow wows that should be mentioned. The first is the eagle feather. During an eagle feather ceremony, spectators should stand and remove caps or hats. Picture taking is not permissible at this time. To Dakota people and most American Indians, the eagle feather is sacred. When an eagle feather falls from a dancer's outfit, the pow wow stops and this special ceremony is performed.

In some traditions, a fallen eagle feather is treated as an enemy because the sacred power of the feather can turn against the person who has lost it. The ceremony is necessary to capture the feather, ask forgiveness, and pray over it to restore the feather's power for good. Different tribes have different customs. In some traditions, the eagle feather is looked upon as a protector and its accidental dropping is similar to the American flag touching the ground. Other traditions simply have a veteran pick up the feather and return it after the prayer and the gifting.

During an honor song, spectators should always stand and remove caps or hats. As the name suggests, honor songs are requested at a pow wow to honor a person or people. A family might request an honor song for a returning son or in memory of a deceased relative. Honor songs can be made for almost any occasion. In some traditions, people with a Dakota name have their own songs for use when the person is honored. In other cases, there are "generic" honor songs for people.

As already mentioned, veterans are greatly honored by Dakota people. In today's society, they often receive too little attention for their sacrifices. The honor accorded veterans at pow wows takes many visitors by surprise. Veterans are especially well honored by the Sisseton-Wahpeton Oyate, who have several active veterans organizations. Veterans serve as flag bearers and they retrieve dropped eagle feathers. They are honored with many songs.

The respect for veterans is an integral part of Dakota culture. It is a tradition which grew from times when the welfare of a village depended upon the quantity and quality of the fighting men – the akicita. To be a warrior was a man's purpose in life. And the veterans of today are given the same honor and respect as warriors of long ago. In some tribes, bravery is still honored as one of the four virtues -- bravery, generosity, wisdom, and fortitude.

The giveaway is believed to be universal among American Indians. Unlike societies where one expects to receive gifts for accomplishments, Native American society holds that a person being honored has a giveaway and provides gifts for others. It has been said that the chief of a tribe was always the poorest man in the village, for he looked out for the good of all his people. Charged with their welfare, honored by them, the chief gave away blankets, horses, food, and whatever else the people needed. Today, giveaways by people being honored or in honor of someone else, are common at pow wows.

Visitors will also notice a renewed interest in traditional moccasin games. The Sisseton-Wahpeton Oyate are involved in intertribal and international efforts to revive these games, and a moccasin tournament is now an integral part of each year’s annual wacipi.

"Pow Wows Now and Then" (a poem)

(Editor's note: The following poem was written by Jake Thompson on April 10, 1980. Jake writes of the value of this celebration: "The annual coming together of the whole Tribe expresses and deepens the Dakota value of sharing.")

Seeing new and old - friends, Indian cars, teepees, eagle feathers, honor, fringed shawls, fancy dance outfits, traditional regalia, contests, eagles, singers, dancers, "snags."

Smelling new and old - cooking, the four winds, sweat, horses, campfires, dogs, smoke, buckskins, "perfume."

Hearing new and old - songs, laughter, bells, eagle bone whistles, jokes, drums, the camp crier, applause, gossip, the announcer, 49's, "I love you."

Touching new and old - drumsticks, respect, giveaways, hospitality, handgames, Mother Earth, drums, tradition, generosity, "her."

Tasting new and old - corn soup, fry bread, coffee, rations, cold ones, Indian tacos, dust kicked up, commodities, water, "and that good-bye kiss."

Hopefully, this information has served to introduce you to the Sisseton-Wahpeton Tribal people, their culture and customs. If you would like to learn more about news of the Tribe, you are invited to subscribe to the Sisseton-Wahpeton Oyate weekly newspaper, Sota Iya Ye Yapi. See the Sota home page for special discounts for purchases made by readers of the internet pages.

Back to the Top

© 2009 Sisseton Wahpeton College
Physical Address: BIA Rd 700, Agency Village, SD 57262
Mailing Address: Agency Village Box 689, Sisseton SD 57262


Trade Schools & Colleges > The Career Counselor > Fashion Designer

Fashion Designer Career Information

Find a School

fashion designer career informationT his morning you got dressed. You went to your closet and chose items based on your personal style. You also probably thought about the activities you were planning to do, the weather, and other factors. What you may not have considered is that fashion designers conceived each and every thing you put on.

What is a Fashion Designer?

A fashion designer is an individual who designs clothing. Fashion designers work with all types of apparel, from wedding gowns to children's wear to industrial safety gear—and everything in between. They even design accessories, such as handbags and hats.

This profession is not as simple as whipping up a pretty drawing or sewing a single top. Designing clothing is a complicated job that entails deliberating over function, cost, aesthetics, style, and more. That means considering a wide range of factors, including style trends and the intended consumers. Plus, fashion designers work within budget constraints, requiring them to deliver a product at a specified cost and within an allotted time frame.

This broad description doesn't do justice in conveying the wide range of tasks and responsibilities that fall under this profession. Below is a list of career options that fall under the umbrella of fashion design to help you understand the breadth of opportunities in this field:

In addition, there are a number of professions related to the business side of the industry (beyond the technical and creative aspects). For example, fashion journalists and fashion retail managers aren't directly related to the production of apparel, but they do play important roles.

What is a Typical Fashion Designer Job Description?

A typical fashion designer job description can include:

This is just a sampling of the various responsibilities that can be handled by a fashion designer. Depending on a number of factors, such as size of company or level of expertise, you could be tasked with many or just a few of these items. Upon entering the industry, you could land a junior designer or design assistant position in which you might assist in one specific area, such as sourcing notions (trim, buttons, zippers, etc.), sewing production samples, or putting together storyboards.

Fashion designers generally work in a particular niche. The most popular specializations include:

If you're interested in learning more about what various roles in the fashion design industry entail, this article can provide additional insight.

Now that you have a picture of what it's like to work in the fashion design profession, you might be ready to learn how to be a fashion designer, starting with how to meet the requirements and prerequisites associated with this career path. The information below can provide in-depth insight into these areas.

Can You Tell Me How to Become a Fashion Designer?

In order to understand how to become a fashion designer, it's important to realize that there isn't one path to achieving this goal.

Although formal education is not the only option, it certainly offers the most potential. In the past, fashion designer hopefuls could start out in a fashion-related setting and work their way up through the ranks. However, this isn't a guaranteed route. Unless you have the opportunity to learn all facets of design, you could be limited by a lack of skill and knowledge. These days, a background in just one department or area of fashion design is likely not enough to propel you to full designer status. To become a fashion designer, it's important to possess a strong understanding of a variety of topics, from textile composition to manufacturing processes to pattern drafting.

Ideally, the first step toward becoming a fashion designer should include applying to a post-secondary fashion program. There are a wide range of options to choose from, including vocational schools, art schools, and even prestigious universities. The one you opt for should reflect your career goals, whether you want to open up your own small boutique or land a job with a high-fashion design house.

Additionally, if there is a specific aspect of the design process that you are drawn to, you can often obtain specialized instruction by taking various electives and choosing related internship opportunities.

Upon graduation, you can start pursuing entry-level positions in your area of interest. You may also be hired on during an internship, allowing you to enter the field directly out of school. To obtain a position, you'll need to be armed with a portfolio showcasing your work. This is paramount for a career in the fashion industry and just as important as your resume (if not more so). A portfolio can be a combination of illustrations, photos, tangible garments, and other examples of your achievements.

Starting out in the field, you should expect to be hired on in a junior role. Such positions often include design assistant, pattern drafter, or junior stylist. Within this role, you will most likely perform a lot of low-level (but important) work, allowing you to gain experience in the industry and make valuable network connections.

As you earn your stripes in the field, you can work your way up the ladder toward more coveted positions or branch out as a freelance designer or entrepreneur.

Regardless of your goal, there is no way to start at the top. A career in fashion design is definitely one that will require you to pay your dues.

What is the Education Needed to Become a Fashion Designer?

When researching a potential career as a fashion designer, education requirements are an important factor to understand. Technically, there is no education needed to become a fashion designer. However, formal training is becoming increasingly important. As mentioned above, deciding whether to obtain training in this field depends on your individual goals. But if you plan to pursue work within a larger organization or want to gain the necessary skills to work with industry-standard technology, then education is likely the right option for you. On-the-job training can also be an option for getting into this field, but without a foundation in technical skills and theoretical knowledge, your potential for career opportunities and advancement could be extremely limited.

An advantage of formal education is that many fashion design programs can allow you to take part in an internship, which can provide you with the opportunity to gain real-world experience and make valuable contacts within a very competitive industry. Plus, an internship may even have the potential of turning into a permanent position.

When you get right down to it, the question, "What do you need to become a fashion designer?" can be answered in any number of ways, but the most important things you need to get started are passion and dedication. After that, you can choose the education option that suits you best.

How Long Does it Take to Complete a Fashion Design Program?

Fashion design programs tend to begin at durations of one year and increase in length according to the level of credential you plan to earn. The most common training options are two- and four-year diploma and degree programs. Additionally, many programs include internships, which can be paid or unpaid. This means that, while technically your education could last two to four years, you could be spending some of that time earning a paycheck in your new field.

What are the Prerequisites for Attending a Fashion Design School?

Depending on the specific school and program that you choose, the prerequisites can vary, but a high school diploma (or GED-equivalent) is often required. Some schools will also require basic sewing skills for entry, which is why high school students interested in the field are encouraged to take home economics classes if possible. Arts classes are also very helpful but not usually required.

In addition, many fashion design schools will require you to present or send a portfolio of your work for examination, including photographs of your creations, illustrations, and garments displaying your current level of skill. This may sound a little intimidating if you're not a gifted sewer, but just keep in mind that this is used to assess your creative talents, not your technical abilities. The faculty looking at your work will understand that you don't yet have a formal education. After all, that's why you're applying.

Schools may ask you to take part in an interview during which you could be asked to talk about your interest in fashion, your goals, and any related experience. This is not only a good opportunity to wow faculty with your passion, but also to ask questions of your own and get to know potential instructors.

How Much Can I Expect to Pay For Fashion Design School?

Like most areas of study, there is no concrete price tag on fashion school tuition. The cost can range from a few thousand dollars for a short-term certificate program to well over $30,000 for a degree program.

Before opting for the most inexpensive program, you should consider what the price of tuition covers. The cost of tuition may include:

Additionally, the price of tuition at some schools reflects the reputation of the school, which can help open the door to increased opportunities for internships and jobs upon graduation. Being an alumnus of a respected school can be a substantial asset when applying to positions in a competitive industry like fashion.

What Can I Learn in a Fashion Design Program?

Subjects that typically make up a fashion design program's curriculum include:

What is a Typical Fashion Designer Salary?

If you're thinking about a career in the fashion industry, you may be considering how much you could potentially make. Since understanding your future earning capacity is important in weighing the factors of an impending career choice, here are some national fashion designer salary statistics (from May 2010) to provide insight:*

While these numbers can give you a snapshot of the fashion design field, it's important to keep in mind that the answer to the question, "How much does a fashion designer make?" can also depend on level of experience, area of the industry, and type of employment (since fashion designers can also be self-employed or work on a contract basis).

However, if you're considering a career in another area of the fashion industry, you should look further into the specifics of the individual profession, since a fashion design salary could be quite different from a fashion merchandising salary or a fashion marketing salary.

Where Do Fashion Designers Work?

Generally, fashion designers fall into the category of in-house or freelance design. In-house designers work directly for companies who design, manufacture, and sell the apparel at a wholesale or retail level, while freelance designers are self-employed and sell their designs to companies.

By choosing to become a fashion designer, you could have the opportunity to work in:

Geographically speaking, fashion designers tend to find work in major urban centers (as you might expect). The largest hubs for the fashion industry in the U.S. are New York and California, which explains why these states employed nearly 75 percent of all salaried designers, according to statistics from May 2010.*

What is the Outlook for a Career as a Fashion Designer?

Opportunities within the fashion design profession are predicted to remain steady for the decade spanning from 2010 to 2020.* While there is a projected decline in apparel manufacturing positions, advancements in technology-related areas such as fabric innovation are expected to balance out the shift.

Additionally, those who possess a formal education and an exceptional portfolio are anticipated to fare the most favorably in this competitive job market.

What Are the Pros and Cons of Becoming a Fashion Designer?

Like any career, there are ups and downs. Some of the drawbacks of the fashion design profession are:

Here are some of the potential perks of a career in fashion design:

What Does It Take to Be a Fashion Designer?

In addition to hard work and dedication, the answer to "What does it take to be a fashion designer?" can be summed up this way: It takes refined skills, a strong understanding of the industry, and drive. In order to best prepare for a future in this field, you should take advantage of any opportunity to hone your skills. To this end, you can:

How Do I Get Started?

Now that you've found answers to some of the most important questions about a career in fashion design, you may be ready to take the next step. A great way to begin is by browsing through this guide to fashion design schools where you can research the educational options available to you.

Find a School

Main Sources

* Bureau of Labor Statistics, U.S. Department of Labor, Occupational Outlook Handbook, 2012-13 Edition, web site last accessed on July 25, 2012.

National Association of Schools of Art and Design (NASAD), web site last accessed on July 25, 2012.

American Apparel & Footwear Association (AAFA), web site last accessed on July 25, 2012.

Council of Fashion Designers of America (CFDA), web site last accessed on July 25, 2012.

Canadian Apparel Federation (CAF), web site last accessed on July 25, 2012.

The Occupational Information Network (O*NET), web site last accessed on July 25, 2012.


What are the art, science, history, cultural or other museums in Long Beach? Are there sites and spectacles that visitors to Long Beach should see? Are any located near each other for easy viewing? Are any free? Share you knowledge and help TripAdvisor travelers make the most of their trip.


Cinema : The Gate
play movie, left -and- right sides
X-ray vision takes us into the secret heart of the mechanical stomach. Here you can see, stripped bare by the screw driver, some of the most basic elements of this mechanical life. The rotary cam at bottom frame is also going round and round, like earth seen from above one of its poles. Invisible to earthlings, but somehow clearly apparent from outerspace, is a nearby and linked piece of super-planetary and perhaps holy metal, called the Maltese Cross. Through their close connection, the happy Newtonian motion of the Globe is converted to stopped motions, which are communicated through the authority of the Maltese cross to the great astral realms which surround the earth in clock-like brilliance. There, this power is used to run blenders (which mix missing souls into composite doughs), toasters (which bake and make the bodies of future Christ-like humans), and wrappers (which place new people in pre-printed packages that have clear warnings and monopoly-set pricings printed in very small letters on the outside).


The Horrors

There are at least three bands called The Horrors: 1) A garage rock band from Essex, England. 2) A garage rock/punk band from Cedar Rapids, Iowa. 3) An American psychedelic rock band active in the 1960s. 1) The Horrors is a garage rock/post-punk band which formed in 2006 in Southend-on-Sea, Essex, England, United Kingdom. The band consists of Faris Badwan (vocals), Joshua Hayward (guitar), Tom Cowan (keyboards), Rhys Webb (bass) and Joseph Spurgeon (drums).

The Horrors on

2,079 false playlists


Location - Where Is It?

Wilsons Promontory is the southernmost point of the Australian mainland, located in the South Gippsland region of the state of Victoria. It is protected as the 50,000 hectare Wilsons Promontory National Park with the seas around the southern end known as the Wilsons Promontory Marine National Park. The park, managed by Parks Victoria, contains 130 km of walking trails and a number of campsites. The only settlement within Wilsons Promontory is Tidal River which lies 30 km south of the park entrance. This area is the focus for tourism and recreation within the park and has a campground, Visitor Center and a general store.

How can we improve this section?

Please email tips@appytravels.com or tweet @AppyTravels if you you think something is wrong here, or if you would like to add some photos!


19 June 2013

Bringing you the latest sounds from the Mideast and its global Diaspora communities.

Blazing A Trail of Beats and Rhymes - An Interview with Iranian Hip-Hop Sensation, YAS

 align=Without a doubt, Iranian Hip-Hop Artist YAS is a musical maverick. He is blazing a trail of beats and rhymes in a country where Hip-Hop remains a relatively new form of music and is not as readily accepted as it is in other parts of the world. Though YAS raps in his native Farsi, adding a unique, compelling flow to his rhymes, he admits that his native language can often be a hindrance when trying to place it within the familiar staccato rhythms that are the foundation of Hip-Hop.

Still, one can readily sense that his words simmer and float with ease as they burst out of one’s speakers.

Unlike many other Hip-Hop artists who focus on an array of superficial subject matter, much of YAS’ music is imbued with a strong sense of empathy and compassion. As an artist, he is well-aware of the suffering that exists around him, both as an Iranian and, more importantly, as a human being. In this sense, his music transcends geography.

This keen awareness of the suffering of those around him is, in many ways, the direct result of his own personal trials and tribulations. After the passing of his beloved father at a young age, the responsibility of providing for his family fell on his shoulders; no easy task in a country where jobs remain at a premium. Such profound experiences weigh their influence upon his music. In the true spirit of Hip Hop, YAS has embraced his hardships, allowing them to sharpen his voice and cut through the musical landscape. And, as he continues to grow as an artist, one can sense a deepening of his craft as he draws from this wellspring of personal and social experiences.

In my recent interview with YAS, he discussed some of his many hardships as well as giving details about his musical process, his influences, and his aspirations.

KG: What are your early musical influences? Do they still play a factor in your creative process?

YAS: I have been musically active for about 8 or 9 years now…I always tried to find a way to lighten some of the weight off my bitter and painful past and be able to deal with the hardships in my personal life; a way to be able to speak of the various pains and realities that exist in life and through this find a way to lift my own spirit. Before this, I listened to rap music starting at the age of 17 and it was something that gave me a lot of energy. But there was one singer in particular that really grabbed my attention, from his style to the way he sang with a feeling of urgency and anger, that took me to another world with his music and this was only done by Tupac.

It was a strange feeling listening to some of his music. And when I sat around with friends and translated his lyrics I saw that he was talking about social problems and pains within his society; social issues about growing up black in America or just issues in general within his society. I saw this as a great path, a way where one can shout out and tell their life story. This is how I started to write and sing. After all this time has passed throughout the years, I still try to find my energy through my society. I look at either my own personal pains and struggles or others, and in the end steer the direction of my song to show how in the end everything can be worked out. I feel there are many out there who can relate directly to my songs, and of course this gives me even more motivation to keep writing, and this energy adds more power and feelings to my lyrics.

Watch the vide here

KG: Who influenced you the most creatively?

YAS: As I mentioned above, the first one who really influenced me the most to move forward towards rap music was Tupac. But of course there were other great musicians that truly energized me in the beginning such as Public Enemy, NAS and more. But I didn’t want to copy or cover anyone’s style in particular, that never interested me. Yes it’s true that they had influenced me and had an impact on me, but I also saw that as much as some of our problems were similar in some ways, when it came to our different societies, the issues inside Iran and [the] USA were completely different, like night and day, and had no relation to each other. Therefore, dealing with each problem would also be different especially for those listeners who spoke my language. As you may know, in Iran, this genre is still new and it has only been around for a few years; and it is still growing so it was very hard to take an American style music and introduce rap in Iran, especially when you consider that in American rap, using profanity may be considered normal to the listener, where in Iran cursing or using profanity doesn’t hold a place in art. Not in music, not in film or any other form. Maybe for young people this is something normal to speak like that among themselves, but in my opinion, music gets its life (becomes alive) when it can be heard by the entire family. So to introduce this type of music and give it credibility was very difficult. But thank God we were able to do this and introduce our own version of socially conscious rap (topics that relate to our Iranian society) which has gotten great acceptance.

KG: Who are you currently listening to?

YAS: I listen to all kinds of music so I stay updated with the latest music. Right now both in Iran and the rest of the world we have some incredible artists, who are brilliant. But unfortunately, one thing that have noticed coming out of the U.S. lately is that there hasn’t been so much emphasis on the lyrics or a particular message, it seems like most of the emphasis has been on the music and to make sure it just rhymes. Unfortunately, the music seems to be about money and business mostly and those who bring in the money stay on top and so there isn’t as much importance put on talent. A place that is known by the world as “The Land Of Opportunity” I would imagine that it would open more doors for more people with new thoughts and give life to whole new musical identity. But the music I have heard recently doesn’t seem to have staying power. They are released quickly in a short span, make some noise but fade out. I remember years ago that there would be music that to this day I still carry the tune in my head. In my opinion songs that are released relying all on technology won’t have staying power. There is plenty of good music out there that is made with heart and soul that don’t rely solely on the market.

KG: Do you find it easy to freestyle in Farsi? How does the nature of the language play a part in creating your music?

YAS: I agree that the sound and rhythms of our language is natural and soft but I don’t think I agree that they lend themselves easily or naturally on the Farsi language when it comes to matching it to a beat. One can argue that the English language uses many short words and less syllables and they sit great on a beat even if the meaning doesn’t quite match. But in Farsi it’s different, we have to really search hard for a word that both sits on the beat as well as sounds good and makes sense- and this makes the process a bit harder. Iran is the land of great poets and poetry is in our blood. But writing text is different. In writing poetry we have several different styles like Robayi, Ghazal, Ghasideh, Masnavi etc.; but writing text/lyrics is different. We have to change the style and the balance of the music every few beats so that the levels have ups and downs and so the listener can move with the flow of the song and play with its words in their mind so their heart and mind gets closer to the music which isn’t easy to do.
In regards to freestyle, I have to say that’s it’s not something that I am really into because it’s all about coming up with something on the go without putting any real thought into it beforehand. Yes, that is a talent in itself but for me, I prefer to spend even up to six months on a song and not release it till I am fully satisfied and put all my energy on the text and the feeling which is the most important to me, then I go to the style, sound and the beat and so on.

KG: As you said, Iran has a rich, poetic tradition. Are there any Persian poets in particular that you draw inspiration from?

YAS: Yes, 100%. I am very proud to say Ferdowsi Toosi, for instance, who is recognized in the world as one of the greatest contributors to the four pillars of civilization with his work. This really energizes me and I try to follow his path in my writing style so that I give my very best to the listener. Who knows maybe one day, I too in some far away future can be someone like Ferdowsi, who is recognized through his words. I don’t say this with an ego, rather maybe one day we too become so powerful in our work that history will take note of it and gives it recognition. Why not? We have to think big to reach big. We have great poets who are world renown and a major reason is that they thought big and far and didn’t put a limit to their work. I get enormous inspirations by those notable Iranians before me who helped pave the way but I try to say my own words in my own way and spread the message internationally. The same way where we may listen to a song in English and not fully understand all its words and meaning but we can relate to it through its feeling and vibe, it’s great to know when a foreigner listens to my music and is interested enough to read the English translations to see what I am trying to say. …like Rumi, whose poetry is written in Farsi but has been translated in various languages.

KG: What’s your creative process? Do you begin with a beat, a rhyme, or do you freestyle around an idea? Do you record ideas immediately or write them down in a notebook?

YAS: There is really several scenarios. Sometimes I may see something that really excites me or gets me worked up and upset and I begin writing. I may not have a specific rhythm at that moment so I pick a tempo in my mind and start writing. Then I will go and set a beat to it. Or sometimes I may hear a beat that really energizes me and its style goes in my head and I begin to write and create a subject to match it. But most of my work that I really feel for or are very special to me usually begin with my writing the lyrics and then go and create a beat for it.

KG: Do you prefer writing and recording songs or performing before an audience?

YAS: Performing live in front of an audience is much better and has a greater impact. To be able to stand in front of someone, look in their eyes and speak from your heart is fulfilling beyond words. In my opinion, if an audience member sees you in that moment and sees you pouring your heart out and singing for them with all your energy -- in that moment they can become your fan, even if till that moment they had never heard of your voice or your music.

KG: Does faith play an important role in your music? Do you believe that music has, potentially, a divine spark in it?

YAS: There was a time when I saw music only as an outlet for fun and I really couldn’t dedicate my full time to it because I carried, and still do, carry the responsibility of being the main caretaker of my family of six; and in these times where a father can barely support himself and his family, never mind me, who at the age of 19 was thrown in that position after the sudden death of my father. But it was also then that I started to take my music more seriously. I loved music but I couldn’t see at it as a career (although I should say that I still can’t see it as a career since we are still considered as underground musicians and we have no real way of making money through music. This in itself is a big and separate discussion). But after releasing a few songs and seeing how well received they were by the public and gaining their tremendous support, that gave me the energy to continue.
It may be hard to believe but I remember getting several thousand emails, calls or people telling me in person how my music had an impact on them gave them energy because they could relate and see themselves in it. I am not saying this out of ego but I felt that my music was different than what was out there and something told me that if I continued, I could provide a service or make a difference for people… Maybe some will say, “we already see all our problems and struggles, why are reopening some of our wounds?” But this in itself is part of the problem that those people are not willing to look at themselves or [come] face to face to some of their realities. We must also believe and face some of our realities as well and look for new ways…to build a solid future for ourselves. So in some way I see this now also as a duty for myself to continue and hope that I can provide a source of positive energy and influence in my community.

KG: What are your goals and aspirations for your music? Where do you see yourself as an artist in five years?

YAS: My main goal is to become an international singer. We have Iranian singers that are active in that direction, to get their music out worldwide, but they are mostly pop and dance music…I am very proud of them for getting the people’s attention and proudly planting Iran on the map. And I want to in my own style (Persian Rap) be the first in the world to be listened to and have a global audience. As one of my American friends, Brian tells me “Hip Hop means achieving your dreams, be it name recognition and power or money and success.” His words and this message really stuck with me and I know that I will reach all of that soon because I know in my gut that I am doing all I can and working hard to better myself towards progress and success. They say if you don’t stand up and shout out loud that ‘I am here’, then no one will see that you are and so I am shouting -- And I will keep singing my music till the day comes where my voice will reach the rest of the world. In hopes of that day ...

By Kashif Ghazanfar, Aslan Media Music Editor
*English translation of YAS's responses provided courtesy of NSB

You can find YAS here:
-Music Available On iTunes-

Add comment

We only welcome and encourage constructive and respectful comments. Please avoid slurs, hate speech, general abuse against other participants, or any incitement of violence.
We reserve the right to delete your comments and block your participation with continued abuse.

Security code