OUR ELDERS ....FOUNDATION OF THE PAST
_________________________________________
SEEDS OF THE FUTURE
Kwe,,,
This was in the late 1980's.
It was the First Mi'kmaq Warrior Drum Group and Women Dance and Mi'kmaq Song Group in Bay St. George,.
George Paul, Margie Muise, and I kick started the group with two years of teaching .
The seeds that lay to the future generations of our Mi'kmaq people are coming together, united as one big family.
I am so proud today in my 60th year , to bear witness to the growing number that is taking part in many Mi'kmaq Culture events in 2014.....
Pikto'l,
Sa'ke'j Muise
HONOR OUR HERITAGE
In 1972 there were three regional Indian bands set up under the Federation of Newfoundland Indians : Central Regional Band , Corner Brook Region, and Bay St George Indian Band .
After I got involved with the Bay St George's Band, I was appointed to change the structure and I did, dividing the regional Indians bands . There was the local district Indian Band and each had their elected Chief and council.
Then in 1988 Joseph Duval and Victor James Muise started the first Mi'kmaw Indian Band Council in St. George's . Elder Josephine Spicier, nee Muise , Elder Matthew Garner, Margery Muise, Audrey Muise , Director, and under the direction of Chief Victor Muise , at that time I was Chief of the St George's Indian Band.
I was directed to get a building of our own, and in 1992 we were affiliated with the Federation of Newfoundland Indians. Just before he announced to his people he represented, that they would soon have a building to call their own, his mandate was accomplished in 1992 and we became affiliated with the FNI .
We acquired the old Court House for band business. Today it is a Mi'kmaw Museum and Office place for the St. George's Indian Band.
Jennie Duval, Kayla Bennett, Juanita Bennett, Jennifer Bennett, Vonita Lassaga, April O'Brien, Melissa Muise, Melissa Young, and Coreen Muise, Elaina Bennett: Youth Women's Dance and Singing Mi'kmaq Drum Group.
To Honor those , now men and women, and in honoring our Mi'kmaw heritage, and people on the island of Newfoundland, there will be a unveiling of the past 25 years to show our deepest appreciation for this accomplishment, as they will be each presented a picture of the group from the past.
_______________________________________________________________
HONORING THE WARRIORS OF THE FLAME
_____________________________________________________________
THE BASKET
This basket will be on display at the Mi'kmaq Museum later this year when it is open. It is made by a woman in Central Newfoundland.
_____________________________________________
OUR NOBLE PEOPLE
This , the Generation with the sacred breath of truth , will find L'un'k , the people, to have a rightful place in Canadian history, , to honor the dignity of the First people's of North America , Turtle Island , to engage in talks of where we stand as a proud and noble people......
Pikto'l Sa'ke'j Miu's /VJM
_________________________________________________________
MAKING HISTORY IN BAY ST.GEORGE
AGM :September, 17th, 2017
PEOPLE OF THE DAWN INDIGENOUS FRIENDSHIP CENTER
The Friendship Center offers supports and services to all Indigenous people of status or nation .
Call 1-709-643-3092.
A new day has begun.
___________________________________________________
KEEPER OF THE HERITAGE
______________________________________________________________________________________
GRAND ENTRY REGALIA
____________________________________________________________________________
This was made for me to wear at the grand entry at the Pow- Wow:
WATER CEREMONY
There was a Water Ceremony & Sacred Fire Gathering held at Little Port Harmon, Stephenvill, on Monday October 26, 2005. A public gathering was held at Stephenville to give offering and honor the Mi'kmaq people's relationship with the water, fish, land and other natural resources. The event was also in support of the Chief of the Mi'kmaq people of Paq'tnkef First Nation of Afton Station NS , and outlined the significance of the Gulf of St. Lawrence to First Nations and called for immediate actions to protect the Gulf. The gathering was organized by the leadership of the Mi'kmaq and Innu coalition, which was formed to speak with one voice to protect Aboriginal and treaty rights. NOTE: Aiden Mahoney photo !____________________________________________________________________________
MI'KMAQ FREEDOM SYMBOLS
Kwe,,
They are very sacred in our Mi'kmaw Culture .
They tell the story of the paths we are all on .
Each is unique and has a different story.
Pikto'l Sa'ke'j Miu's.
.
_______________________________________________________________________
Values, Customs and Traditions of Mi'Kmaq Nation
It is like a Code of Ethics.
In the Mi'Kmaq world, these rules are known as ORAL TRADITIONS.
These rules must be taught to us by Elders, Spiritual people, Medicine people and Chiefs of our Nation. No one learns by verbal knowledge, but you learn through observation all during your lifetime.
(ONE).... Mi'kmaq show respect for rituals in our interaction with nature. The Spirit of the trees, animals, plants, and elements we disturb for our own use.
(Two)...Respect for the human spirit from birth until death. All things have their own unique spirit.
(Three)...Respect for Elders. Our Mi'kmaq society holds this value with highest esteem and consider it most important of all.
(Four).... Mi'kmaq language is sacred. The sacred knowledge within our language provides wisdom and understanding.
(Five)....Sharing. Being Mi'kmaq gives the unique ability to have an Eagle's viewpoint of sharing of yourself, your resources, your time, your knowledge, your wisdom freely without being asked, or expecting anything in return.
(SIX)... Death is a natural as birth.
(SEVEN)... Individual non-interference.
(EIGHT)...Respect for the unborn.
(Nine)... Ageing is a privilege.
(Ten)... Spiritually -The belief of our Elders.
(ELEVEN)..... Belief in the supernatural between two worlds.
(Twelve)... Humility and humor.
(Thirteen)... Labeling: understanding the Spirit in a person.
(Fourteen)... Sweetgrass ceremony. (Pekitne'mam)
(Fifteen)... Indian time, the space of no beginning and no end.
(Sixteen)... Time for healing.
(Seventeen)... Child care.
(Eighteen).... Ritual for death and dying. They should not be left alone. Enter the spirit world completely at peace with everyone and everything, to find a path in the spirit world.(Wasoqnckewi)
(Nineteen)... Ritual for mourning.
(Twenty)... Richness of body language.
(Twenty-one)... Honoring ceremony for elders. (Pestiewa'ltimk)
(Twenty-two)...Ceremony for individual accomplishment. (Wi'kipaltimk)
(Twenty-three)... Dreams. Listen to our dreams.
(Twenty-four)...Ability to function in Separate Worlds.
(Twenty-five) ...Customs and beliefs affecting women. SHE IS THE MAIN AGENT OF OUR CULTURE !!
(Twenty-six)... Customs for visiting.
(Twenty-seven)... Belief in a forerunner.
(Twenty-eight)...Feeding of Grandfather.(A'puknajit., Giving thanks to spirit during the most difficult time of winter.
(Twenty-nine)... Behavor modification of children. Take a child in the bush and teach the spirit of Mother Earth. Let the child breath the breath of our Mother.
(Thirty)...Respect for food.It is sacred. What is never put into fire should return to nature.
PIKTO'L SA'KE'J MUISE : (Sa'qewei-wjijaqmijl-wape'k-paqt-sm),Ancient spirit of the White
WOLF
_____________________________________________________________________________ TRADITIONAL MI'KMAQ BASKETS
The Traditional Mi'kmaq Spruce Baskets ........( pu'taliew'l ) , in Mi'kmaq
The following is a story of my journey into learning. It is my story. Others can make the same journey, and then , they, too will have a story.
The making of these baskets is taught through an oral tradition, and knowledge is handed down from one to another, and thus it survives from generation to generation.
The following is my own personal story and is not taken from any book.
These root baskets have been a part of the Bay St.George Mi'kmaq culture for thousands of years. They were made by Mi'kmaq people and were a part of every day use in our society.
Mr. Anthony White, of St.George's , was an expert in this art , and should be given great recognition.
Several years ago I was inspired by doing some research into many types of different Mi'kmaq baskets and came across a few videos on baskets that were made on the West coast of Newfoundland.
Hearing others speak of a spruce root basket was further inspiration.
After speaking to several people in the area, I learned that Melvin White had one on display in the St.George's Museum.
This started me on a journey of discovery.
Now knowing that I could speak to my friend about the baskets, I requested that he teach me the process.
He was very humble.
On the third day he left me on my own and told me that I should experiment with my own style.
He hoped to see me sharing my knowledge with others.
When I was on my third basket I knew that I had to get other artists involved, to teach and to share what I was taught by Melvin and my research.
Many times during life I have observed Scott Butt, my sister's son, who respected everything that I have done. He is a well known carver and artist. I have watched him carve and also make drums.
Looking at my baskets, he helped restyle them and make them presentable to the public.
His interest grew.
Scott had some knowledge which he had acquired from Danny White, a well known basket maker. Being an artist, he would help me.
Scott made a mold to set the two first cataracts, a word used by the family elders.
The black ash shrub is found along the sides of boggy or cut over areas, only in Western Newfoundland.
Whip rods is another word used, called such because they were used to clean nets after fishing.
So the mold was set, and this was the first step of the process.
Then Scott and I went to find the right shrub from which I would make the body of the baskets .
We then went to find Spruce roots , with much strength needed to retrieve from the fiber and the moss, staying a distance from the tree , so as to not damage the tree's growth.
After soaking the rods and roots in water for awhile , we then peeled the rods and roots.
Then the roots had to be split, some maybe twice. Only the outer part of the root is used to weave the basket.
Weaving is the last step of the process.
After the cataract mold is dried and glued , it has to be tied, one fitting over the other, making first the handle and then the basket.
Then one has to create ears, as some Mi'kmaq call them, on each side of the basket. This is what holds the ribs in place.
This was also taught to me by another artist, Marcella William, also a friend and relative of the Muise family.
Then came the drying , before putting the body/ribs of the basket together , with five rods on each side.
As I learned from Melvin, the first two at the bottom must sit as a rocker , lower than the heel of the basket. The other four have to be measured to form the body .
All shared our knowledge about fine tuning the Traditional West Coast Mi'kmaq Spruce Root Baskets .
All three I honor for sharing their knowledge with me.
Now I am weaving my ninth basket , and will promote this art and share the tradition with others in our Mi'kmaq community.
The creation of a basket takes time. This is not a craft. It is an art of the Mi'kmaq people of Bay St.George.
Pikto'l ,
Sa'ke'j Muise
VICTOR JAMES MUISE
Composed June 15, 2014
ALL RIGHTS RESERVED
A FALLEN EAGLE FEATHER
A FALLEN EAGLE FEATHER AT A POW WOW OR GATHERING......ONE TEACHING
Kwe..
Greetings. We have to respect all our different teachings , what we have seen ,what Elders have taught all down through our life.
I was taught many things by grandmother of the Mi'kmaq Nation, and by mothers and Mother Earth, and have seen several sacred Eagle Feathers leave and go back to Mother Earth.
If there were four wings of an eagle at the Gathering then the dance in all four directions, starting at the east and tobacco was laid.
If there was a veteran present, in respect of our fallen People's past and present, the honored veteran would take the feather as it would be lifted by the wings of the eagle and presented to a Chief or Elder that opened the gathering . She or he would seek someone in the gathering that was somewhat working and helping the community and not being paid , a volunteer.
The chief or Elder would make a presentation to that person: We never, in history, take sacred objects into any conflict or battle .
All personal sacred objects must return to Mother Earth when a person goes back to Mother Earth.
Then:Wela'lin
Thank you all Kindly...Pikto'l Sa'ke'j Muise...VJM..
________________________________________________________________________
THE SACRED EAGLE FEATHER
Teaching OF a Sacred Eagle Feather:
(KIPTU PI'KUN)
The stem symbolizes your life line.
The bottom (white part) is your being created to you mother until birth .
The small frills, white feathers ,is your first seven years, a stage you go through .
After this stage the body, mind and spirit purifies naturally with nature, and each stage every seven years , until you're forty- nine:. Only at this stage one can really know enough knowledge to know what is the best path to take in life on Mother Earth .
Along the stem of the feather there are many strains. Each one represents the path humans can take in life. Some times we, as humans, take the wrong path, but always to the bitter end, we intend to survive .
To those of us who are presented a sacred Eagle feather, one of the most important teachings that I was given was... NEVER HOLD A SACRED EAGLE FEATHER IN A POLITICAL CIRCLE OR AROUND DRUGS ,unless used in healing circles.
THE EAGLE FEATHER MUST BE RESPECTED AT ALL TIMES WHEN WE CARRY IT . IT S ONE OF THE MOST SACRED IN THE CREATION OF THE UNIVERSE:,
PIKTO'L SA'KE'J MUISE….VJM
WINDS
The people who survive illness and hardships with an open mind and without bitterness are frequently the Best Healers.
The NORTH winds corresponds to the FIRE element and the colour White.
The SOUTH winds corresponds to the AIR element and the colour Black.
The WEST winds corresponds to the WATER element and the colour is RED.
The EAST winds corresponds to Grandfathers, the element of eternal life. The Colour Is yellow, the growth of the universal spirit that is living in every thing that he CREATED.
To find life's greatest harmony and self understanding,think of the four WINDS asking the following questions. Looking for the answers within yourself. What are your biggest fears?
When you looking to the EAST...Who or what a'm I a part of:where do I belong? "Between a Mountain and a ant".
When you looking to the SOUTH...What do I enjoy doing or do well? "My gift's in life that i'm aware off"
When you are looking to the WEST...What are my strengths:what limits me? Body,Mind,Spirit.
When you are looking to the NORTH...What do I have to contribute or share? What did I do in the past 4 or 7 day's in my community?
Pikto''l Sa'ke'j Muise/VJM/(Ancient Spirit of the White Wolf)
(ORAL TRADITION IN WRITHING)
PIKTO'L SA'KE'J MUISE
(Ancient spirit of the White wolf)
____________________________________________________________________________
KEEPERS OF THE SACRED FLAME
Keepers of the Sacred Fire are usually alone and they focus on keeping the fire alive until the next keeper: arrives. But, at times one may have to give our youth the responsibility for the generations that follow the honor of a fire keeper.
The following is the story of honoring an Elder.
I was sitting at a sacred fire as a keeper and a young man came to sit with me.
He said... "You're alone?".
"Yes" I said.
He replied "Then could I sit and you could teach me what do and what all this means?"
I said "Yes my son". I call all the young men, who come to me to learn. my sons.
As the evening to the West drew it's last shades, I started to teach the young man how to place wood on the fire. I told him he would be the keeper of the fire until the sun rises.
"First" I said "you should light the sweetgrass and smudge, and pray while you are doing such a sacred ceremony" .I told him this is to cleanse you five main senses and cleanse you spiritual , physical, and mental being.
The young man was so proud.
"Now my son, you have to offer tobacco to the sacred fire and pray for what ever is in you heart in the four directions."
All that night I taught young man different teachings along with a few stories. I could see before the sun was going to rise he would get tired. He did, and dosed off a few times, but he kept the fire going all night and prayed as he offered tobacco to the sacred fire.
Before dawn he decided to go home and he thanked me ever so much.
About hour later this man I could see coming to the entrance holding something in his hand .
"Good morning" he said "I've come to pray".
"Yes" I said .
He offered tobacco to the sacred fire ,still holding something under his arm. He came a sat down and said to me "I have some thing for you, a gift for you for helping my son to understanding things about the sacred fire and other thing you've taught him ,"
The young man who had been with me that night was his son.
"I would like to honor you with this whale hip bone. Our family got it from the beach here in Flat Bay.This is from our family and community for your help as keeper of the sacred fire and you kindness and your time you give to our people.."
By then there were tears in my eyes and this was a man I had gone to the same school with.
I accepted the sacred gift and asked "What will I do with it?"
Well, I still carry it with me in my sacred objects. Some times I use it for a smudge bowl, and teaching about the great whale travailing our oceans.
________________________________________________________________________________
THE SACRED DRUM
Our drum is not a statue. A statue is a solid carving or cast image of a person,place or thing.
The Mi’KMAQ drum teaches us respect for our self and for others. When we chant with the drum we send messages to remind people, we are only one in the cycle of life. We are no greater than anyone else. If we think this then we are mistaken.
The drum is the heartbeat of a nation. The blood of our ancestors flows through our veins, the same as the rivers of the Earth and nature takes it’s course and divides our blood, But, nature don’t divide and conquer.
Treat your drum as if it were a child, with respect and be gentle. Always have good thoughts.
Offer tobacco to the drum, to symbolize unity and strength among Nations of the world. People have power. We must accrue spiritual strength, not power, when we carry a drum.
Do not lay your drum face down to Mother Earth. Face it to the universe and the Creator will answer when you pray this way.
When your knowledge and wisdom grows, the drum will tell you when to pass it on to someone you’ll single out in society. There’s no end.
The cycle of the drum and its teachings are in the balance of the circle and must be taught with the sacred breath of truth.
We always respect and remember that women are the sacred carriers and mothers of the Earth. For this we hold honor and respect at all times.
When an Elderly woman speaks, listen, for she speaks the tongue of the heart beat ,our first encounter to being on Earth as a human.…..
Pikto'l Sa'ke'j Muise...
_________________________________________________________________________
Construction of a Mi’kmaq Wigwam First we have to build a (WIGWAM ) our home.
Find a place that is flat and already cleared.
Start by trenching a hole two feet deep, three feet in round at the center of construction. Trench a shoot southward to the outside of your wigwam, using this tunnel for a draft (as in a stove) keeping it free of debris.
Use birch rine to make the funnel or spruce,(The BREATH of life).
Place sand or gravel at bottom of the pit. Once a week clean ashes from pit or fireplace. (Represent the universe.)
Now cut 28 trees (depending on the size, each pole represent stages in life, seven poles for each direction.) Cut at the right moon.( For the moon is our grandmother she controls the seasons and fertility).
Dig a trench around the circumference where the wigwam will be erected.(Circle your wigwam four times with sacred sweet grass. This message the Creator will answer).
So draft or heat will not escape when you put your first layer of birch rine or hide (babyish) or (animal skins )to cover layer after layer until you reach the top, keeping an opening for the smoke to escape. The hatch at top will go on last, after making it later.
Your final task is the following:
Your door facing EAST (Start your journey in life),to receive the earthly sun in morning.
Try to keep the back facing a bit north to protect you in winter from the north winds.(This will keep you strong in spirit).
Always build near running water,(to keep you cleaned and pure,think this way), never in a fluid area always in a dry earth.
With spruce roots build a circle two feet round, then tie to the top of your wigwam, where the smoke escapes inside your construction. (This again depending on the size). It’s the circle of life.
Now lay four poles and tie them to your circle, then erect then one in each direction N,S,E.W.
Then lay the rest of your poles side by side starting from east until finished. Do not cut a tree you a not going to use.
You can use moss for insulation and some times you can use fir liens intertwine between the poles.
Then construct your door. There are many ways to do this.
You can use hide or poles. Your doorway should be at the highest point, so water cannot enter your wigwam. Cut more poles to lie over the rine when finished.
Store dry choke’s for long winter nights, there’s also less smoke.
If you construct your wigwam (Milkman Home) it should take you a day, you’ll have no trouble.
Use animals hides, fern or what ever MOTHER EARTH pervades us.
Always pay respect back to MOTHER EARTH for that gift (a offering of sacred Tobacco, Tomawey, to thank the creator).
Place two eagle feathers at top of wigwam(represents WOMEN and MAN), with one final pole to keep your hatch at top, open or closed. This pole represent BALANCE in life.
This is only the basic’s of construction a Wigwam,(or home).One may have to be erected one each season.
Your foundation is like the first seven poles or your first seven years of life. If the poles are put up right it will last a lifetime…..
Pikto'l Sa'ke'j Muise...
________________________________________________________________________
PIPES
Pipe-Tmaqn
Sacred , (to be) - alasutmaqneyimk
"Two Types of Pipes"
There are two types of pipes. A personal pipe can be owned by anyone, and be used to pray on their own behalf. It should not, however, be shared.
Pipe Carriers, on the other hand, carry a pipe on behalf of the people.
If there is need, the Pipe Carrier will use the pipe to pray for the people, to call in the spirits for a gathering or ceremony, or perhaps for healing or teaching.
In the Mi'kmaq tradition, a Pipe Carrier is born to the task. There is no way to earn this privilege - it is something you were given before you arrived on this Earth.
Acting as a Pipe Carrier when it is not your true calling is not only disrespectful; it is dangerous, both to you and to anyone who shares your pipe.
No comments:
Post a Comment