“The feather flag was carried by one of the bravest warriors, who ran to and fro with it during the fight. This man was a target for the Sioux and defended the flag with his life.” ~ Odjib’we as told to Francis Densmore Miigwanii-Gikiwe’onan (Eagle Staffs) have a rich and varied history among the Indigenous peoples of Turtle Island. Eagle staffs were associated with warrior societies and traditions. As such, the miigwanii-gikiwe-onan are deeply rooted in Ojibwe-Anishinaabe ogichidaa aanike-bimaadiziwinan (warrior traditions) and represented not only ogichidaag but the community as well. The pre-colonization dance complex called Nandobaniishimowin (the War Dance) included miigwanii-gikiwe'onan as a central part of Nandobaniishimo (the Scalp Dance). The banner of war was honored and revered in the dance circle of old. In “Chippewa Music”, Francis Densmore writes: “Part of the [war party] equipment was provided by the leader, who also borrowed the “banner” or “flag” borne by the war party. This was made of eagle feathers sewed on a strip of cloth about 4 feet long, which was fastened lengthwise on a pole. Odjib’we stated that in the old days he knew of only one such banner among the Mississippi Band of Chippewa, made by a man named Gaga’giwigwun (Raven Feather) and loaned to the war parties. It was considered the common property of the warriors, but this man was its custodian in times of peace, and it was preserved in his family after hostilities ceased. At the present time (1912) there is one flag preserved at White Earth, but this is believed not to be the one made by Gaga’giwigwun. It was carried in the wars against the Sioux by Mi’gisins (Little Eagle), and is now in possession of his daughter. In the [photo] this banner is shown, held by the daughter of Mi’gisins, though a woman would not have carried such a banner in actual warfare. Mi’gisins was so a distinguished warrior that a song in his honor is still at White Earth.” Densmore writes: “This is a song in honor of a warrior named Little Eagle, who died about November 1, 1907, at an advanced age. “O’kitci’ta is a Sioux word. White Earth was the old battle ground of the two tribes and the word suggests that the song was composed by the Sioux, who do not grudge their tribute to a brave man, though he may be their enemy.” Little Eagle’s Song O’kitci’ta…..Leader of the warriors Mi’gisins……Is Little Eagle Densmore also writes about a nandobaniishimo (war dance) held at the Fourth of July powwow at Obaashing (Ponemah) in 1910. She included a photograph of the nandobaniishimo that features an eagle staff next to an American flag. In “Kitchi-Gami: Life Among the Lake Superior Ojibway,” Johann Georg Kohl notes the use of eagle staffs: “According to traditional custom, the pipe of peace passed from tent to tent…among the warriors. When each had smoked, the procession started, and marched with drums beating, fluttering feather flags…through the village, to the open space before the old fort of North-West Company. Here they put up a wooden post, and close to it their war-flag, after which the dances, speeches, and songs began. A circle was formed of brown-skinned dancers, with the musicians and singers in the middle. To the music, the warriors hopped around in a circle, shaking the otter, fox, and beaver tails attached to their arms and heads. At times the singing and dancing was interrupted: with flying hair and skins a warrior walked into the circle, raised his tomahawk, and struck the post a smart blow, as a signal that he was going to describe his warrior deeds.” Once hostilities ended, the Nandobaniishimowin (War Dance) dance complex, with the various dances related to war, ceased as a community dance. Nandobaniishimo, the scalp dance, became a part of the emerging Niimi’idiwin, i.e., secular dance gatherings or powwows. As such it was a performance dance, one that connected past to present. However, in the period from 1900-1933, the ritualized nature of nandobaniishimo and its association of war led to its banishment and cultural oppression under the BIA to conform to assimilationist policies. As photographic documents attest, the nandobaniishimo was performed into the 1910s but disappeared by the 1920s. By that time, the scalp pole and miigwanii-gikiwe’on was replaced at the center of the dance grounds with the American flag. With the advent of contest powwows in the 1960s, miigwanii-gikiwe’onan made by veterans formally became a part of grand entry. According to some powwow historians, grand entry originally has its roots in the rodeo and, in particular, Buffalo Bill’s Wild West Show. The reemergence of eagle staffs coincided veterans returning from the Vietnam War. Eventually they were incorporated into the dance structure of traditional powwows. In grand entry, miigwanii-gikiwe’onan are always in front of the color guard and American flag. One of the components of grand entry is an eagle staff song to honor the eagle staffs. Some of the songs are contemporary but others are much older and reach back to the time when miigwanii-gikiwe’onan were used on the battlefield. Today, miigwanii-gikiwe’onan represent veteran organizations, community organizations, tribes, families, and specific events. Miigwanii-Gikiwe’onan are made in a variety of shapes and sizes and many are predicated by a bawaajigewin (dream vision). Daughter of Mi'gisins with his eagle staff, White Earth, ca 1912, Minnesota Historical Society. Nandobaniishimo (war dance) held at the Fourth of July powwow at Obaashing (Ponemah), ca 1910, Minnesota Historical Society Scalp Dance at White Earth with two scalp dance poles and two eagle staffs, ca 1908. War Dance at White Earth with American flag and eagle staff, ca 1910 Making the American Indian Cancer Foundation Miigwanii-Gikiwe’on The making of the AICAF eagle staff was the fulfillment of a bawaajigewin (dream vision). Following the initial bawaajigwin, several subsequent bawaajiewinan provided more details of the eagle staff. It took about 2 ½ months to complete the making of the staff. Original sketch of eagle staff following dream vision drawn on a 3" x 5" pad of paper. There weren't a lot of details provided in the initial dream vision. Only that the staff would be a hooped staff and that it would be made for the American Indian Cancer Foundation. The first step was selecting mitigoons (staff pole). Fortunately, I had a mitigoons on hand, a wiisagaak (black ash sapling). The hoop is made by placing the end of the mitigoons in boiling water. Once the end of the mitigoons is soaked thoroughly and softened in hot water, the end is bent over and tied with a length of sinew to hold the hoop in place until it is dry. Once it dries, the hoop is formed. One of the important features of the eagle staff was an asabikeshiinh (dream catcher) because of the meaning that was attached to it. I asked my friend, Ivy Vaineo, if she would make a asabikeshiinh for the eagle staff. Ivy has been making asabikeshiinhyan for 30 years. The photo is a temporary placement to give me an idea of how the asabikeshiinh would look in the crook of the hoop. Preparing the makade nigigwayaan (black otter pelts) and the migizi miigwanag (eagle feathers). Staff wrapped in makade nigigwayaanag (black otter pelts) with placement of the asabikeshiinh. Wrapped migizi miigwanag (bald eagle feathers). According to the vision, each feather would represent a different cancer. Biimaakwad Bimaadiziwin (Vine of Life). Originally, the panel was of devoid of much detail (see original sketch). It would have a large, maroon ribbon to represent the color of the AICAF logo, and the letters - AICAF - arranged vertically. However, the panel would be a central feature of the eagle staff. It would bring the staff to life. So I began to design a panel that would incorporate Ojibwe floral motifs to create a vine to represent life. Featured above is a sketch for a floral arrangement on the eagle staff panel. Color study for eagle staff panel of floral arrangement. Niwiijiiwaagan Nan's initial work on the eagle staff panel. Although I provided the designs, it is Nan's agogwaajigan (appliqué) skills and a gashkigwaasowikwe (seamstress) that brings the panel to life. At this point, it comes her art, not my art. Interpretation of the AICAF Miigwanii-Gikiwe'on Although eagle staffs share a similarity in structure and form, they have specific meanings. This is particularity true with those given in dream visions. The meaning of the dream has to fulfilled. For example, nigigwayaanag (otter pelts) may be a common wrapping on many eagle staffs, yet it may have a deeper meaning as a result of a dream vision. Everything on the AICAF eagle staff has a specific meaning. Asabikeshiinhyan (dream catchers) are of Ojibwe origin although they have become a common item on the pan-Indian vendor market. Francis Densmore ("Chippewa Customs") writes that asabikeshiinhyan "were usually hung on the hoop of a child's cradle board, and it is said that 'they catch everything evil as a spider's web catches and holds everything that comes in contact with it.' These articles consist of wooden hoops ...filled with the imitation of a spider's web." On the eagle staff, the asabikeshiih conveys the same basic meaning, albeit the spider web is to catch fearful and negative thoughts associated with cancer. The two agates entwined in the web are from the shores of Anishinaabeg-gichigami (The Great Sea of the Anishinaabeg) and provide a connection to the ancestral roots of the Ojibwe. The nigigwayaan (otter pelt) covering represents a journey. Long ago, the Ojibwe people lived on the shores of the Great Salt Water, in the area now called New Brunswick. They migrated down the St. Lawrence River and into the Great Lakes region. It is said that the nigig (otter) led the journey to lead the Ojibwe to their new homelands. Metaphorically, the otter represents the Midewiwin - the sacred lodge of the Anishinaabeg - that led the Great Migration. On the AICAF eagle staff, the nigig leads a new journey - the cancer journey. Eagle staff biinjigosan (medicine bag). The biinjigosan contains the four medicines - giizhikaandag (cedar), mashkodewashk (sage), wiingashk (sweetgrass), and asemaa (tobacco) - and a manidoo asin (spirit stone) from Miskwaagamiiwi-zaaga`iganiing (Red Lake). The four ziibaaska`iganan (jingle cones) represent the ziibaaska`iganagooday (jingle dress). The ziibaaska`iganagooday originated among the Ojibwe people and is referred to as a medicine dress for its power to heal. In addition, the Jingle Dress Healing Dance plays a central role at the AICAF's Powwow for hope. Biimikiiwin (quillwork) medicine wheel. Before the advent of manidoominag (beads) in the 1800s, gaagobiiwayan (porcupine quills) were used for Ojibwe decorative art forms. The biimikiiwin on the eagle staff provides a connection to our traditional art. The AICAF eagle staff feathers. There are more than 100 types of amogowin (cancer) with approximately another 100 sub-types. Cancer ribbons representing cancer are usually limited to the major types of cancer that afflict people. The ribbons may vary from 15-25 colors. On the AICAF eagle staff, 15 ribbons represent Brain, Melanoma, Lymphoma, Leukemia, Ovarian, Prostate, Lung, Sarcoma, Breast, Colon, Uterine, Cervical, Childhood, Kidney, and Pancreatic cancers. The color of eagle feather panel is lavender - the color of all cancers. The gayaatiniwed (caregiver feather) is to honor those who help the sick. They play an essential role on the cancer journey. Like the Nigig (Otter), miigis shells also led the Ojibwe on the Great Migration. Wherever a miigis shell emerged, a new village would arise. Four is a sacred number and denotes balance and harmony. The four miigis shells - and the four jingle cones on the medicine bag - emphasize the circle of life and the inherent meanings of the number four. The Biimaakwad Bimaadiziwin (Vine of Life panel) represents the vibrancy of life, of love, of hope. The Vine of Life features, from top to bottom, the AICAF logo, and an spring array of Ojibwe floral motifs from blossomed florals, florals bursting into life, leaves unfolding, and a oboodashkwaanishiinh (dragonfly) with a floral motif that represents the jichaag (soul-spirit) of all living beings. The Bimaadiziwin, Zaagi’idiwin, Apennimowin Miigwanii-Gikiwe’on (Life, Love, Hope Eagle Staff) is dedicated to all those who have passed on, those who survive, and those who help those on their amogo babaamadiziwin (cancer journey). Once begun, it is a journey that never really ends. With each dawn, life, love and hope fill our hearts as the day begins anew, and we offer our prayers and offerings for who those like us walk this journey. The eagle staff commemorates that journey. It is a legacy from the present generation to the Seventh Generation. As such, hope shall endure. © All Rights Reserved, Robert DesJarlait, 2017
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Robert Desjarlait
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