Powwow

I believe that the photographers (a husband and wife team) had a terrific eye for what makes beautiful regalia. The photos are expert and visually enjoyable. Contrary to a previous reviewer, I think the plain backdrop works well. Yes, the book is limited in scope to static (non-dancing) poses, i.e. still portraits.

And nearly every photo is accompanied by an inspirational paragraph transcribed from the words of the Native American pictured. Good reading!

My only objection to this book is that since it was photographed at powwows in the northwestern U.S., it is mainly limited to representatives of tribes in that area. Otherwise, an excellent book!

Very nice bit
This book falls shy of a couple stars for me for one reason:
Although the photographs are all very well done, clear,
and pletiful, they are all inside studio settings only.
Compared to outdoors settings and natural light, these pics
loose something crucial in the translation.
There are NO outdoor shots and, most importantly, NO PICTURES
OF NATIVE DANCING!! Can't believe it!! I can't
believe that a book of ceremonial dress woulb have no
pictures including dancing ceremonies, for the costumes truely come alive when in motion. Tsk-tsk for not even giving us even a few - such pictures are the main reason I bought the book. Two or three would have helped immensely. Otherwise, I agree with the other reviewers, who don't seem to mind the omission I mention.

Pow Wow: Images Along the Red Road
I highly recommend this visually stunning book for anyone with any interest at all in Native American pow wow culture. The color photographic portraits are riveting and the commentary from the dancers themselves is compelling.

Beautiful, unique portraits and statements, wonderful book

A review should on some occasions cut to the chase. Buy this unique and beautiful book for your school library (any age), yourself, gifts. You can see some photos and some of what the dancers said on http:www.halcyon.com/benmarra/ Ben Marra's powwow web page. With his permission, I chose a few pix of young people and what they said for my Fancy Powwow Outfits page at http://www.fdl.cc.mn.us/~isk/art/beads/powwow.html, part of my beads and beadwork section .

These give a good idea of the wonderful contents, so here I'll say a few other things. First, a book of portraits of people in full powwow regalia: close up, clear, relaxed, and talking (or a grandma speaks for a little one) about the meanings of it and their personal involvements in their own culture is unusual, unique. We've all probably got little collections of photos we took ourselves of Uncle leading the Grand entry, Sister in her jingledress, etc. Nobody has any like this, though. There's no comparison to books of "taken at powwows photos" put out by other publishers. These are the work of a lifelong pro photographer, who -- together with his wife -- was able to put people at ease and capture character and meanings that work with what the people say to create an integrated work of art -- this book -- that is accessible to anyone from little children to busy city folk, who don't really know what a powwow is.

Linda Marra told me almost all the portraits were taken within a 5- minute set-up period, in improvised 'studios,' set up somewhere close enough to the dance arenas for the dancers to move on, but a little out of the way. The portraits are all against a plain brown backdrop/floor. All attention is on the people. Linda interviewed the people for the moving, interesting, and culturally informative statments by each (or parents or grandparents of the littlest ones). Help -- introductions to the people, encouragement, philosophy -- was provided by Bernie Whitebear (Colville), Executive Director of Indians of All Tribes; and by the staff of Iw'asil Youth Program in Seattle (who put on a number of the powwows over the years), and Bob Eaglestaff (Lakota), principal of the American Indian Heritage High School.

Tuscarora Richard W. Hill, Sr. (Native American Studies, State University of New York, Buffalo, and National Museum of the American Indian) contributes an interesting preface, which is a good context for most of this review. He explains "I almost came to resent the powwow as a sort of tourist fabrication, a 'minstrel show' put on mostly for white culture-consumers. But the power of the drum is just too much for me to resist....The powwow has now spread from coast to coast, and while some see it as a pan-Indian fabrication, I now see it serves as a vital catalyst for cultural renewal."

"Magic happens when individuals take the time to make the beadwork and bustles, learn the songs and steps, and personally step forward to express themselves through their dances....The powwow has become our light in a very dark world."

"These photographs are a testimony to those individuals who make the powwow magic. They are the human element behind the tradition, the real people who keep it all going. They may be construction workers, computer operators, students, or blackjack dealers during the week. On weekends, the ageless drum calls again, not to help them relive their cultural past, but to celebrate their real existence in the world. It is the dancers' faces in these photographs that speak to me the loudest, despite their quiet demeanor. They tell me of themselves, determined and honor-bound to keep the dancing traditions alive."

Another preface, by Nez Perce elder Horace Axtell, leader of the Seven Drum Religion on the reservation, is more philosophical -- and practical, too:

"We try to follow in the footsteps of our elders, who cleared the way for us with clean minds, hearts, and bodies....They prayed for our welfare, but their foresight could not cover such problems of today as drugs and alcohol. So, in order to keep the Red Road clean and good, we must be strong followers of our Indian ways. We must help all concerned in the war against drug and alcohol problems, which threaten to destroy our youth today. That is why our powwows are kept free of drugs and alcohol....We can enjoy the Red Road with dignity as it was intended."

Marra attended his first powwow 8 years ago by chance -- seeing some dancers while biking, and later arranging to improvise portrait photos at a school powwow. "When we looked at the results of that night's work, we discovered I had recorded more than just colorful images or fabulous outfits. I had recorded a sense of a people's spirituality, dignity, and proud identity...a glimpse of history and heritage. We had been allowed to make art in response to it."

And so he was, and so this is. There is little for the reviewer to say, here, beyond declaring that this book is a must-have for anyone of any age who has any kind of interest in Native American people. (Marra has some pretty nice photo calendars too.)

--Reviewed by Paula Giese (editor: Native american books website, http://www.fdl.cc.mn.us/~isk/books/bookmenu.html)