whta is the meaning to this native american dance?
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http://www.inquiry.net/outdoor/native/dance/dog_woodcraft.htm\n\nthis site tells of all dances
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isn't the 'Mexican Two-Step' an aboriginal dance?
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oOo y u tring to learn to dance... huh : ) is it for someone speical? mmmm....? : )
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A sovereign Native American tribe.
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The "Dance of the Chinelos”
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Dancing is generally an expression of celebration obviously,but then it was also done for;\n\n-asking for rain,guidance...or anything from the ancestors\n-thanking them for providing\n-some funeral rituals\nyou know that kind of thing. The belief was that the ancestors would talk to God on behalf of the people...
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"bungkul dance" maybe i just guessing..never heard of it b4 what is it accually ...tell me
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I believe it was from an episode from the television show F troop when the native Americans saw something flying in the air and said "It is balloon".
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I'm Native American specifically Mi'kmaq and I love it. I love all the respect that's found in the culture. It makes me unique because there aren't a lot of Native Americans left compared to all of the other nationalities. I love going to pow wows and seeing everyone's beautiful regalia. It's just amazing.
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Illinois Official Dance: The Square Dance\n\nIn 1990, Governor Thompson signed into law a bill designating the Square Dance as the American folk dance of the State. Square Dance is a term used to describe many individual dances done in a style that traces its origins back to Morris dancing in England and French dancing with influences of Irish, Spanish, and Scottish dancing thrown in. It was revived in the 1950s and remains a popular pastime.\n\nYee haw!!
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A phenomena swept the American west in 1888 by Paiute holy man Wovoka from Nevada.. Wovoka, son of the mystic Tavibo, drew on his father's teachings and his own vision during an eclipse of the sun. He began spreading the "gospel" that came to be known as the Ghost Dance Religion. He claimed that the earth would soon perish and then come alive again in a pure, aboriginal state, to be inherited by the Indians, including the dead, for an eternal existence free from suffering.  \n    To earn this new reality, however, Indians had to live harmoniously and honestly, cleanse themselves often, and shun the ways of the whites, especially alcohol, the destroyer. Wovoka also discouraged the practice of mourning, because the dead would soon be resurrected, demanding instead the performance of prayers, meditation, chanting, and especially dancing through which one might briefly die and catch a glimpse of the paradise-to-come, replete with lush green prairie grass, large buffalo herds and Indian ancestors.Kicking Bear, a Miniconjou Teton Lakota, made a pilgrimage to Nevada to learn about this new "religion". \nTogether with Short Bull, another Miniconjou mystic, they gave another interpretation, choosing to disregard Wovoka's anti-violence and emphasizing the possible elimination of the whites. Special Ghost Dance Shirts, they claimed, would protect them against the white man's bullets.\nWhite officials became alarmed at the religious fervor and activism and in December 1890 banned the Ghost Dance on Lakota reservations. When the rites continued, officials called in troops to Pine Ridge and Rosebud reservations in South Dakota. The military, led by veteran General Nelson Miles, geared itself for another campaign.  \n\nThe presence of the troops exacerbated the situation. Short Bull and Kicking Bear led their followers to the northwest corner of the Pine Ridge reservation, to a sheltered escarpment known as the Stronghold. The dancers sent word to Sitting Bull of the Hunkpapas to join them. Before he could set out from the Standing Rock reservation in North Dakota, however, he was arrested by Indian police. A scuffle ensued in which Sitting Bull and seven of his warriors were slain. Six of the policemen were killed. \n\nGeneral Miles had also ordered the arrest of Big Foot, who had been known to live along the Cheyenne River in South Dakota. But, Big Foot and his followers had already departed south to Pine Ridge, asked there by Red Cloud and other supporters of the whites, in an effort to bring tranquility. Miles sent out the infamous Seventh Calvary led by Major Whitside to locate the renegades. They scoured the Badlands and finally found the Miniconjou dancers on Porcupine Creek, 30 miles east of Pine Ridge. The Indians offered no resistance. Big Foot, ill with pneumonia, rode in a wagon. The soldiers ordered the Indians to set up camp five miles westward, at Wounded Knee Creek. Colonel James Forsyth arrived to take command and ordered his guards to place four Hotchkiss cannons in position around the camp. The soldiers now numbered around 500; the Indians 350, all but 120 of these women and children. \n\nThe following morning, December 29, 1890, the soldiers entered the camp demanding the all Indian firearms be relinquished. A medicine man named Yellow Bird advocated resistance, claiming the Ghost Shirts would protect them. One of the soldiers tried to disarm a deaf Indian named Black Coyote. A scuffle ensued and the firearm discharged. The silence of the morning was broken and soon other guns echoed in the river bed. At first, the struggle was fought at close quarters, but when the Indians ran to take cover, the Hotchkiss artillery opened up on them, cutting down men, women, children alike, the sick Big Foot among them. By the end of this brutal, unnecessary violence, which lasted less than an hour, at least 150 Indians had been killed and 50 wounded. In comparison, army casualties were 25 killed and 39 wo
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Belly dance or bellydance is a Western name coined for a style of dance developed in the Middle East and other Arabic-influenced areas. In the Arabic language it is known as Raqs Sharqi.\n\nBelly dancing legitimizes the natural "roundness" of the female body, in contrast to the modern Western cultural preference for flat stomachs. Most of the basic steps and techniques used in belly dance are circular motions isolated in one part of the body, i.e., a circle parallel to the floor isolated in the hips or shoulders. Accents using "pop and lock" where a dancer either shimmies or makes a striking motion in her shoulders or hips are common, as are feats of flexibility, rolling one's stomach muscles, balancing various props like baskets, swords or canes.\n\nEgyptian-style belly dance is based on the work of belly dance legends Samia Gamal, Tahiya Karioka, Naima Akef, and other dancers who rose to fame during the golden years of the Egyptian film industry. Later dancers who based their styles partially on the dances of these masters—and who have risen to nearly the same level of stardom and influence on the style—are Sohair Zaki, Fifi Abdou, and Nagwa Fouad. All rose to fame between 1960 and 1980, and are still popular today.\n\nand i like it, and it is very sexy and (check this out) : feminine
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The Kiowa Apache Indians, a small group of Athabascan (Apachean)-speaking people, ranged the area of present southwestern Oklahoma and the Panhandleqv of Texas during the nineteenth century. Although their common name is derived from the erroneous belief that they were a detached band of Apaches from New Mexico and Arizona, their myths and oral history tell of a northern home, probably near the eastern base of the Rocky Mountains, when they were an independent tribe with north and south divisions. They called themselves "Naishandina," which in their tongue meant "our people." While there is no clear account of the reasons why they migrated south, the fact that they were a small group among primarily hostile tribes caused them to become affiliated with the Kiowas for mutual protection; as far back as there is any record or knowledge, they have functioned as a band of the Kiowa tribe, though they speak a completely unrelated language. A few of the old Apache men usually learned a little Kiowan, but sign language was the primary means of communication between the Kiowa and its Apache band. Although many scholars lean toward the view that the Kiowa Apaches were linked with one of the Athabascan divisions, some speculate that they were originally eastern or Plains Apaches who became separated from their kinsmen when the Comanches first intruded into the southern Plains. Aside from linguistic differences, the Kiowa Apaches were practically indistinguishable from the Kiowa proper. They were buffalo-hunting, tepee-dwelling, horse and travois nomads, with soldier societies and medicine bundles (four). They participated in the annual Kiowa sun dance and camp circle. Like the Kiowas, the Kiowa Apaches believed in the passage of the spirit into the other world. Since death was awesome, names of the deceased were avoided and dropped from use.
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The hula maiden, with swaying hips and “lovely hula hands,” is one of the legendary symbolsof Hawaii, but this art form, passed down through generations, is far more than an entertaining dance.\n\nThe hula of Old Hawaii, known as kahiko (ancient), was a ritual of religion and communication. Its dancers were dedicated to perfect performance. Kahiko is exciting to watch, its performers strong and precise as they move to the beat of the drum and the chanter’s call. Dancers wear costumes based on ancient garb—simple cotton tops, skirts or loincloths printed to simulate kapa (tree-bark cloth), ti-leaf skirts and ferns or vines woven into lei for the neck and head, wrists and ankles.\n\nIn ancient times, dancers were selected in childhood, or even before birth, for hula training. They spent their formative years separated from the outside world, under the care of a kumu hula, or hula master, and their lives were dedicated to the goddess Laka, patron of the hula. Chants and dance preserved the history of births, deaths, loves and battles. Hula was danced for religious purposes, as well as entertainment, in the hope of successful crops or battles, at funerals or to celebrate human fertility.\n\n\nphoto Kim Taylor Reece \nThe first visitors to Hawaii didn’t understand that the dance had a vital place in the spiritual lives of their hosts. Early sailors and traders saw what they wanted to see: seminude women with undulating hips. When the missionaries arrived, they were shocked by the dance, which they considered lascivious. They had come to convert, and, though they were willing to accept the Hawaiian language in order to preach, the hula would have to go. For many years in the 19th century, missionary disapproval drove the hula underground. Hula survived partly because some royalty continued to support it, and partly because dedicated families and individuals in remote places quietly continued to pass along their knowledge to succeeding generations.\n\nKing David Kalakaua, nicknamed the “Merrie Monarch” for his love of song and dance, sparked a cultural renaissance in the 1880s. The hula schools came out of hiding, and dancers performed at his coronation and again at his 50th birthday party.\n\nKalakaua’s fascination with things foreign also helped bring about the modern style of hula, called auwana (to wander, drift, go astray). Dancers in his time began to include the steps of popular, contemporary dances, and they moved to the gliding rhythms of the guitar and ukulele, rather than the dramatic beat of the pahu (drum) and ipu (gourd). Costumes worn by today’s dancers often reflect the elegant European styles of Hawaii’s royal court. Auwana is the form of hula most familiar to the outside world.\n\n\nphoto Kim Taylor Reece \nAfter Kalakaua died, and his sister Liliuokalani lost her throne, hula began a long decline into the 20th century. When Hawaiian music became a fad in the early 1900s, people who had never been to Hawaii wrote songs and danced on Mainland stages. The sacred dance was tarnished by a hootchie-koochie image.\n\nIronically, while Hollywood was enamored with Hawaii, the culture was suppressed in the Islands, where families often forbade their children to speak Hawaiian or dance the hula. Still, the image of the lovely hula dancer spread around the world. Military people stationed in the Islands during World War II went home with memories of lilting Hawaiian tunes and a smattering of hula learned from friendly Islanders. In backyards and living rooms, the culture survived as elders continued to teach their arts to the young.\n\nWhen the revival of Hawaiian pride began in the 1960s, the dancers were ready. Once more the chant was heard and the flashing movements of kahiko hula were seen in public. Now the hula is in full flower. Young and old again have dedicated themselves to the hula and the culture that surrounds it. They grow or gather lei materials, make their own costumes and ornaments, and lea
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Start here: http://www.native-languages.org/blackfoot_culture.htm\n\nAmerican Indians relied on oral traditions, so you will have to identify your particular tribe and see if anyone knows its oral history. You will not find much useful help on Yahoo Answers about your particular family history.
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Bailar= "to dance"\nCantar="to sing"\n\nSpanish equivalent of "ing" is the ending "ndo"\n\nThus, "dancing"= bailando, "singing"= cantando.\n\nEstoy bailando= "I am dancing", versus" "Yo bailo" which translates into "I dance".
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It's a type of dance.