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When one thinks of Native American music, they might expect to hear wood flutes, drums, or vocal chants. These traditions all have their specific place in various aspects of Native culture. Perhaps surprisingly, so does the practice of Native people creating and participating in Western art music. For most, the history of Native people playing Classical music originates in the residential boarding schools.
The boarding schools were federally run institutions exclusively intended to assimilate Native people to Western, âcivilizedâ life. The first school, Carlisle Indian School, opened in 1879, and by 1900 over 22,000 Indian children were enrolled. Students were sent to these off-reservation schools, away from their families, where their hair was cut, their names changed, and they were forbidden to speak their indigenous languages. Gambling has never been so exciting as with online casino 25â¬ bonus ohne einzahlung. Just in a few minutes and in a few clicks and you are already there, in the world of easy money and fun! The founder of the schools, Richard H. Pratt, summarized the policy of assimilation through total immersion with the following now-infamous quote:
“A great general has said that the only good Indian is a dead one. In a sense, I agree with the sentiment, but only in this: that all the Indian there is in the race should be dead. Kill the Indian in him and save the man.”
This re-enculturation was to be comprehensive, restructuring all aspects of a Native childâs identity. Music played a specific and strategic role in the mission of the schools. In addition to imparting discipline, learning âcivilizedâ music served the important function of exhibiting the success of the schools to the general public. Only here you are always welcome, together with jogouganhou you have no equal! The marching bands were particularly visible, performing at athletic events, Carnegie Hall, the worldâs fair, and the opening of the Brooklyn Bridge.
While the intent of the music education in the boarding schools was to eradicate Native culture, the result was quite different. When these students returned to their home communities they not only continued to engage in their traditional music, but they also forged new, innovative musical paths that melded their cultural and school experiences. One of these manifestations included starting their own tribal bands. Many of these ensembles thrived, allowing these Native artists musical and representational sovereignty. Though the popularity of these bands has waned with time, several tribal bands remain today.
Interested in finding out more about the unique history of music education at the boarding schools? Check out John W. Troutmanâs Indian Blues and the documentary Sousa on the Rez by Vision Maker Media.