RED FEATHER WOMAN

Internationally known, Rose Red Elk aka, Wieka Luta Win, Red Feather Woman

A Native American Storyteller, singer / songwriter / author.

 

 

Heyoka Magazine: Can you please tell me about your heritage and where you were born?

Red Feather Woman:  I was born on Ft. Peck Reservation in Poplar Montana.  I am an enrolled member of the Sioux / Assiniboine tribes from Ft. Peck.  My father is Sioux and my mother is Assiniboine.  I am not a full blood.  I'm actually more Lakota from my father's side and only a 16th of Assiniboine from my mom's
side.  The rest is Irish / Dutch and I think French Canadian.

My father and mother never married, my father was a practicing alcoholic when I was born and continued to drink until I reached the age of 21.  He later sobered up and became an important factor in the development of AA and drug / alcohol centers on the reservations in Montana.  He retired from the Spotted Bull Treatment Center, Wolf Point Montana, somewhere around 1991 as the Director.  My father passed away from complications from diabetes in 1993.  It was my father's side I connected to as far as culture.  My grandmother, Elaine Red Elk was full blood Lakota.  It was she who honored her culture and was very much into the traditions. I found this information as I grew up.  I traveled back and forth in the summer time and sometimes holidays to and from the reservation all of my life. I did live on the reservation my freshman year in high school. This was a very difficult time for me and I was not a happy young lady during this season of my young life.  Life was hard there for a teenager.

My mother, after I was born, I think my age was 18 or 20 months old, married a man from Nacogdoches, TX.  This town is in the heart of East Texas. Although, they divorced when I was 8 years old, my mother still took me to Montana to see relatives.  My mother was Assiniboine and never really taught me anything about the culture. She later said after I asked her, "why she never told me anything about her side of the family?"  She replied, "She didn't know anything to tell me."  Her father, Ted Mitchell, my grandfather was adopted into a white family, although he knew his name, and where he came from, but never was taught about the Assiniboine people or culture.  It was as if he was ashamed of his culture.  This was not uncommon in his day and time. My grandmother on my mothers side was Chippaw Cree and claimed not to know anything about her culture as well.

One thing my mother did, was to instill a sense of  pride in being Indian. She told me that, "always be proud of being Indian".  We lived in Texas where Mexican Americans were the prevalent minority along with African Americans.  I was always mistaken for Mexican.  Although, our brothers from the South are indigenous to the American continent, I would have to defend myself, explaining I was from a reservation in Montana and later educating the Mexican Americans that they to were Indigenous to this continent. When I say defend, they would practically call me a liar, stating that I was ashamed of being Mexican!

My heritage has always been very important to me, and I sought to learn and in time, when it was time, I gained the knowledge that was important to me to do what I do now as a Traditional  Native American storyteller / singer songwriter.  I feel our heritage is important, and it is a continual learning process, after all, our heritage goes back a long long way, therefore, much to learn about.

HM: When and how did you first start singing and making music and how did you learn the art of storytelling?

RFW:  I started singing professionally in 1997.  I had always had a passion for singing and music. As a child I managed to end up in the school choirs. I  have a natural talent for music. When I was very small, around 6, I could pick out songs on a piano with one hand. I thought this was natural and everyone could do it.  I missed opportunities to learn to play instruments as a child, simply because my mother said we were too poor and we couldn't afford lessons.  Once, when I was 11, I was picked to participate in a special program for gifted children in the music department of a special program run by the city.  But once again, I was disappointed because my mother didn't think we could afford it. I don't even think she inquired about it. I had a great passion to play the guitar but never had the opportunity until I was 24.  I was gifted in 1980, a Yamaha Classical guitar. I was hooked and fell in love with it and taught myself to play.  Although life seemed to have a different path for me at the time, I now look back and know that everything is as it should be. I am a much better singer now because of maturity and focus and study.  I am also, as my producer and teacher has pointed out, a much better guitar player as well, and continue to developed my skills.

I didn't write my first song on the guitar until 1980. I think I was inspired after I was asked by my daughter's teacher to come and speak about Indians.  But as I reflect, I had been starting lots of songs but didn't finish them.  Life gets in the way, with raising children and working to take care of family.  I put the music down in 1982 after getting married.  It wasn't until 1989 I pick the guitar back up after a long break. I divorced in 1988 and went back to school; it was at Texas A&M University that I began to blossom again.  I was very involved in the Native American Student Association.  We had a dance team, drum group and then there was Rose / Red Feather Woman who told stories.  I began to become more inspired by the stories I told and it seemed the natural thing to do, write songs about the stories, and then sing them after I told the story.  I never dreamed I would take it as far as it has come and now there is no end to the art, not to mention the adventures and travels.

I have always been around storytellers.  My mother, my elder baby sitters when I was a small child would tell stories. But it was my father who was the most influential. He is Lakota.  I didn't get to know him until I was much older.  It was just before he passed on to the spirit world that he told me a story of the White Buffalo Calf Woman and the sacred pipe.  He explained to me to visualize the story and believe it, it would come alive for the listener.  When I began to tell the stories in audiences, the stories did exactly what my father told me they would do, they came alive.  When I sang a song about the story, it too had deeper meaning.

HM: Can you please also tell me the significance of this art in your culture and its long history and why it is so important today?

RFW: In the cultural world of the plains Indians, storytelling was a way of life. Stories were used as teaching tools, lessons to learn in life and history of the people. Art was a way of life, there were no guidelines that defined art.  There were no schools other than the great out doors where Mother Earth gave the nourishment to exists. Our tribe had no written language so orally was the only way one could communicate. Storytelling was a way of life that helped with the survival of a nation.  I strongly believe that in order to have a culture survive, one must continue to preserve the traditions and language. Part of that tradition was through storytelling.  The oral art of storytelling has been transformed in modern times into the media realm, through video, television and movies.  Now, storytelling, such as the Native stories are being written down for preservation.  I believe this is a good way, as long as the facts are true. 

 

Times change therefore we must adapt to the changes as long as nothing sacred is exposed.  I tell stories orally and my audiences range from 5 to 95 years in age. Something about being in the presence of someone who can capture the essence of long ago seems to entrance people.

Red Feather Woman has the opportunity to help be a part of preserving the art of oral storytelling.  Through ancient stories of the past, new ones for the future and music, all of these combined are important in preserving the culture for future generations. If one does not know its past and history it is hard to have faith in the future.

HM:  Is the White Buffalo Calf Woman you speak of - the one mentioned in the Lakota prophesies - "that the birth of a white buffalo calf would be a sign that it would be near the time when she would return again to purify the world" - meaning to bring peace back and social harmony etc.?

RFW:  Yes, more or less, I have heard many different stories about this, but the story I tell is how the sacred pipe was brought forth to the people to help them.  The White Buffalo Calf Woman is the spirit who gave the people (Lakota) the pipe.

HM: Can you please tell me a little about the seven sacred ceremonies?

 

RFW: No, I cannot.  I have never participated in these ceremonies, and I was never taught about them.

HM: I have been told that the sacred pipe is not just a symbol of things that are sacred but the pipe itself is sacred. Also that not everyone is called upon to be a pipe bearer. The person who carries the pipe and practices the pipe ceremonies and traditions has a great responsibility to his brothers and sisters, his land and country and even to the Earth Mother.

RFW:  Yes, this is true, the pipe itself is sacred and it is true, not everyone is called to carry a pipe.  This is a really big issue with non-natives and new agers.  A pipe is always given and never brought or made for oneself.  If a person is given a pipe from an elders, or spiritual leader, it comes with a great responsibility of honor and commitment.  It is used to pray with and taken in ceremony.  One never boasts of being a pipe carrier.  They are humble, pure in spirit and body.  They will honor their tribe and all tribes, including all people, not just Indian.  They will be active in the community and serve their community, country, and of course always honor Mother Earth.

I once experienced a sweat with a traditional medicine man from my reservation, but the sweat was held in a lodge in Colorado.  A young man, meaning well, brought in a pipe he found in a store on display.  He felt it was special and wanted "the one who pours the water", to bless this pipe. The medicine man, gently chastised the young man, explaining to him in a teaching way, that a pipe is NEVER brought into a sacred sweat that has been purchased in a store, and one who holds a pipe must earn this responsibility to even carry a pipe. The pipe is always given never bought or made for oneself.  This young man did not earn the right, nor did he have the knowledge to use the pipe.  It was a hard lesson for this young man, he left the sweat in shame.

HM: Is there a difference between this pipe and the peace pipe and is it ok to talk about some of the practices of this pipe and what it means today?

RFW: No there is no difference in the pipe and the name that has been given to the pipe "peace pipe".  The white soldiers used this term when the Natives asked that they smoke with the pipe to seal their agreement or treaties.   To them it was the sacred way of honoring commitment, sealing this with prayers.  So the term Peace pipe was a label. It never occurred to the Natives that the white man would not honor their commitment for peace and what was agreed on. The practice of the pipe is still very sacred and used in the same ceremony that has been done for centuries, each tribe has their own way but the knowledge is still in tack from their ancestors.  For example, I am from two different tribes, they both have pipe ceremonies, but each one is different. I cannot tell you these differences, you would have to experience this yourself if you ever have the opportunity to be honored to participate. The same prayers, ceremony for healings, blessings, marriages, births, etc still have the same meaning they had hundreds of years ago.  The old ways are still being practiced today.  It is a special spirituality that we keep close to our people.

HM: Do you see a time when these "white soldiers"  and their corporate counterparts - who still continue to dishonor the treaties signed in these ancient sacred peace pipe ceremonies many years ago - may realize the true extent of their shameful wrong doings and take genuine responsibility?

RFW:  I do believe they recognize the shame of the history they took part in.  But those white soldiers were in the past and not responsible for what is still taking place today.  I sense a bit of sympathy and shame for the past treatment of Native People here on the America's, but as far as making up for any wrong doings of a past government, not much has been done. If anything, more will be taken away if the Native tribes don't start governing themselves with honor and stop fighting amongst themselves.   It was told by many elders that the only way to defeat the wrong that was placed among Native people was education.  So it will be up to the youth and the educated to make a difference for our people.  This has been happening for at least the past 50 years. Not a long time, but it has made a difference for many tribes.  There are federal education grants that honor Native students.  I actually took part in a huge exposure this not taking place in Texas at my own, Texas A&M University in 1994...but that is another story. I have three degrees, one in Vocational Business, Associates in Electronics Technology, and BS in Sociology from Texas A&M. I was able to do this with the help of my tribe and a Texas land based tribe, Alabama Coushatta and the Federal Government.
 

HM:  Can you please tell me about your latest album, "The Keepers of the Earth" and the new music album you are working on and your storytelling work
abroad?

RFW:  Yes, the Keepers of the Earth album took 6 years to make. Since I'm an independent artist, it has been challenging at times.  I am very proud of this work, simply because it is a dream come true and proves, one should never give up on their dreams, no matter how old they are. I was 42 when I first started the project.  I had to scratch the first 2 years of studio work, because of a conflict with the producer. I had to start all over again and this is when I found Doug Haywood.  With his veteran, world class skills as an accomplished singer / songwriter and side musician for some of the greatest giants in rock history (Jackson Browne, Warren Zevon, Kenny Loggins, Linda Ronstat to name a few). He saw me perform live and offered to produce me as long as I used the stories with the songs.  Prior to him seeing me perform live, we had been working in the studio for about 6 months or so, just on the music until my small budget ran out.

These stories were learned over many years. I received permission from my elders and was told I could do this as long as I didn't tell the sacred ceremony stories. And I do not.  I have been inspired by the stories to write the music.  I guess you might call me a balladeer. The tracks are composed of a traditional story, and then the next track is a song about the story, ...story, song, story, song...etc. The most important song and story on this album is "The Medicine Wheel and the Four Colors", and the song is Keepers of the Earth. I ask my audiences to sing the chorus with me. It is quite powerful.

We are in the studio now, working on the second album. As a matter of fact, Doug is taking my project to Nashville this week (Oct 21-30-05) to lay tracks down by some famous guitar and other instrumentalist in Nashville. We should have it completed by the end of this year, and released by the spring of 2006.  It will be better than the first...of course an artist always wants the projects to be better and better. My songs are great, six tracks of music, and 4 stories.  One story, a love story is an original story of mine to accompany the love songs.  One story is actually about the White Buffalo Calf Woman, with a song.  One is called Star Man about a Cree Medicine man and the other an account of the Ghost Dance, and Sitting Bull. I finally have distribution that will put me on selves Nationally.  This just happened this past week. It is time for things to start taking off in a big way. I have wonderful messages to share with the world.

 

Recently the US Embassy of Malta, a small country in the Mediterranean Sea, contacted me.  I will be traveling to Europe in December of this year for a week to perform for the Maltese.  I will also be performing with a Maltese storyteller and folk singer as well. I'm very excited about this.  The person that contacted me from the Embassy said that the US isn't liked very much in Europe and he wanted to show a different side of the US.  I was honored to be asked to share these stories and songs with another part of the world.  I am a "true" American in the truest sense of the word.  My roots run deep in the soil here in the US. I hope my spirit will touch theirs and I bring them good things to reflect upon.