Page 1 of 52 - Choctaw-Apache Tribe of Ebarb

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Welcome!
On behalf of the Tribal Council and myself, I would like to personally extend a warm welcome to
our families, our friends and our visitors at our 20th Annual Powwow. The Choctaw Apache Tribe of
Ebarb, recognized in 1978 by the State of Louisiana as an American Indian Tribe, is now a tribe of over
6,000 members strong and still growing! The tribe still continues work on the federal recognition
process. Currently, we have several programs available for Native Americans. One program, the U.S.
Department of Education/Office of Indian Education benefits nearly 1,000 Native Americans enter the
work force. We have established several committees to help our tribal. They include the pow wow
committee the coordinates our annual pow wow, special events committee that oversees Veterans
events, elderly festivals, Bass Bash and arts festivals, Anolia Committee which produces a tribal
newspaper on a quarterly bases; grant committee that searches and writes tribal grants; enrollment
committee that maintains our tribal rolls and new membership; federal recognition committee that
works at addressing our letter of deficiency from the BIA; Land development Committee that strives to
develop the 32 acres acquired for SRA for 99 years. In order to develop pow wow ground, museums
and eventually tribal offices in Ebarb; all of these committees are put in place to serve our people. This
is my second term in office and along with our tribal council and we try to maintain an open door
policy for all tribal and committee members. I am here to serve our people and to look out for their
best interest.
John W. Procell
Tribal Chairman
Choctaw Apache Tribe of Ebarb
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Tribal Council
Chairman: John W. Procell
Vice Chairman: Jake Rivers
Treasurer: Virginia Malmay
Secretary: Pam Cartinez
Tom Rivers
Ione P. Durr
Rebecca Samples
Robert Caldwell
Susan Lee
Joanne Sepeda
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Pow Wow Committee
Rebecca Samples
Jake Rivers
Pam Cartinez
Jerry Cartinez
Amelia Bison
Joanne Sepeda
Virginia Malmay
Nancy Sanchez
Christin Leone
Melodie Hubbard
Alexis Hubbard
Marla Ferguson
Roger Ferguson
Susie Sepulvado
Kallie Russell
Dorothy Harper
Tom Rivers
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CHOCTAW APACHE TRIBE OF EBARB
20TH ANNUAL POW WOW
FRIDAY APRIL 19TH AND SATURDAY APRIL 20TH 2013
AT
EBARB HIGH SCHOOL BASEBALL FIELD
MASTER OF CEREMONIES ..................... TIM TALLCHIEF (OSAGE NATION)
ARENA DIRECTOR ................................. ROLAND THOMOPSON (COUSHATTA)
HEAD GOURD DANCER ......................... KEN DIXON (CHOCTAW)
HEAD MAN ........................................... RANDY SOLMON (CHOCTAW)
HEAD LADY........................................... HAZEL STABLER (OJIBWA/YAQUI)
DRUMS ................................................ SOUTHERNTREE SINGERS (ALABAMA COUSHATTA)
HEAD LITTLE LADY ................................ KIRSTEN SEPULVADO (CHOCTAW APACHE TRIBE OF EBARB)
HEAD LITTLE MAN ................................ Garrett Rivers (CHOCTAW APACHE TRIBE OF EBARB)
FRIDAY
SATURDAY
6:00………GOURD DANCING
7:00……….GRAND ENTRY
8:00……….SOCIAL DANCING
10:00 ........ GOURD DANCING
12:00 ........ LUNCH
1:00 .......... GRAND ENTRY
2:00 .......... SOCIAL DANCING
5:00 .......... DINNER
6:00 .......... GOURD DANCING
7:00 .......... GRAND ENTRY
8:00 .......... SOCIAL DANCING
THIS IS A DRUG, AND ALCOHOL FREE EVENT
NO COOLERS ALLOWED
FOR MORE INFORMATION CALL THE
CHOCTAW APACHE TRIBAL OFFICE AT 318-645-2588
SPONSERED BY SABINE PARISH TOURIST COMMISSION,
IN PART BY THE PARAGON CASINO, AND
SABINE PARISH CHAMBER OF COMMERECE
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Chief John W. Procell
Our Current Chief
John W. Procell, a United States Army
Veteran, was elected Choctaw Apache Chief
and Tribal Chairperson in August 2005.
Procell's vision and energy have seen an
approximate 40% increase in enrollment
over the last year. Procell's main goal
during his administration is to reinvigorate
and renew the quest for federal recognition
of the tribe, thereby increasing
opportunities and advancement for its
people. Procell has an open-door policy and
invites anyone with questions or concerns to
contact him.
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Our Chiefs, Past and Present
Raymond L. Ebarb
Roy Procell
Hester Escott
Tommy Bolton
John W. Procell
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Head Lady—Hazel Stabler—Ojibwa/Yaqui
Hazel Dardar, a member of the Ojibwa and Yaqui tribes, is
the daughter of Theresa and the late Jack Hard, Sr. of
Anadarko, Oklahoma. She currently resides in Youngsville,
Louisiana with her family. Hazel is a traditional dancer, who
has been dancing since childhood, and has traveled the Pow
Wow circuit throughout the U.S. and Canada. She has won
many dance competitions and has been honored as Head
Lady Dancer on many occasions since the age of 16. She has
held many Pow Wow princess titles in her youth, and later,
has served as a judge and organizer for young Native women
Pageants. She also had the privilege of serving on the panel
of judges for the Miss Indian USA pageant in Washington DC,
and the Choctaw Princess Pageant in Philadelphia, MS.
Hazel is an accomplished clothing designer whose focus is on contemporary
“traditional” clothing and won many design awards for her efforts. She enjoys
traveling and presenting fashion shows of her designs at various events and
openings for museums, universities and festivals. Hazel also owns and operates a
successful BABYLOCK sewing machine dealership in Youngsville, LA, where she
teaches various beading, sewing, machine embroidery and heirloom techniques.
She serves on several educational committees where she has the opportunity to
share her studies and accomplishments through cultu8ral exchanges and
presentations. Hazel is also the captain of her tennis team and enjoys cross fit,
cycling and dancing.
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The Lord’s Prayer in the Choctaw Language
Chitokaka vba ish binili mal
Our Father which art in Heaven,
Chi Hohchifo hvt holittopashke
Hallowed be thy name.
Chim apehlichika yvt vlashkw.
Thy kingdom come,
Nana ish ai ahni ka yakni pakaya a yohmi kvt
Thy will be done on earth,
Vba yakni a yohmi mak o chiyuhmashke.
As it is in Heaven.
Himal nittak ilhpvk pim ai vlhpesa kako ish pi ipetashke
Give us this day, our daily bread
Mikmvt nana il aheka puta ish pi kashoffi kvt,
And forgive us our debts,
Pishno vt nana pim aheka put ail I kashoffi chatuk a ish chiyuhmichashke
As we forgive our debtors
Mikmvt anukpvlika yoka ik ia chik pim aiahno hosh,
And lead us not into temptation,
Amba nanokpulo a ish pi a hlakofihinchashke:
But deliver us from evil:
Apehlichika, mikmvt nan-isht-aiahli,
For Thine is the kingdom and the power,
Micha isht aholittopa aiena kvt chimmi a bilia yoke.
and the glory forever.
Amen
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About the Choctaw Apache Tribe of Ebarb
The Choctaw Apache Community of Ebarb is located in western Sabine Parish and includes in its
ancestral territory of Ebarb, Blue Lake, and Grady Hill, Converse, Noble, and Zwolle. Officially
recognized by the state of Louisiana in 1978, the Tribe is the second largest of eight officially
recognized American Indian groups within the state. The Tribe I currently is seeking federal
recognition by the U.S. Department of the interior, Bureau of Indian Affairs.
Members of the tribe live within the ancestral boundaries; the remainder lives elsewhere in the
state and in the United States. The three primary schools in which our children are enrolled are
Ebarb, Zwolle, and Converse (with Ebarb being recognized as a Native American.)
Historically, members of the tribe are descendants of Apache slaves who were sold at slave
markets in French and Spanish colonial era Natchitoches and Los Adaes. Oral history tells us
that the Choctaw ancestors arrives in the region during the late 1700’s and early 1800’s, many
in search of better hunting territories. Additionally, the first Indian agent of the Louisiana
Purchase territory, Dr. John Sibley, gave refuge to Choctaw in an effort to protect them from
persecution by their Creek neighbors, and subsequently moved two families into the area
during the middle 1820’s. Recent research into the tribe’s history has brought light that many
of the Indians ancestors were natives of the Spanish mission and presidio of Los Adaes, adding a
strong Adais identity to the Tribe. This fact dates the tribes ancestry to the early 1720’s and
gives the distinction of being one of the few Indian groups of the state.
•
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Miscellaneous Historical Facts of the Choctaw Apache Tribe of Ebarb:
The Choctaw Apaches Tribe of Ebarb was incorporated by the state of Louisiana in 1978
Our members are ancestors of the thirteen original families: Procella (Procell), DelRio (Rivers),
Sanchez (Santos), Martinez, Bermea (Malmay), Y’Barbo (Ebarb), Sharnack (Ezernack), Rameries
(Remedies), Leone, Padilla (Paddie), Sepeda (Sepulvado), Garcia (Garcie), Cartinez.
Our ancestors began coming to this area in 1760’s.
For many years, our people farmed and worked in the timber and oil industry.
In the 1970’s, he states of Texas and Louisiana staked its claim on over 180,000 acres of
ancestral land. This forced the people the people to sell their land for as little as $25 an acre.
The people were removed from Toledo Bend Reservoir to be created.
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POWWOW
A Significant Gathering
The Powwow is an American Indian gathering focusing on dance, song and family celebration.
Traditionally, it is a celebration presented by one tribe or band to welcome and honor others.
Powwows are usually three day weekend events and people may travel great distances at
attend. The main Powwow season is summer (traditionally beginning with a Powwow in March
in Denver), however there has been a resurgence of Powwows in the last decade, making it
possible to attend a Powwow every weekend year round in North America. All people (including
non-Indian people) are welcome at Powwows and are encouraged to attend one, as
experiencing a Powwow can be a valuable and fascinating cultural experience for non-Indian
people unfamiliar with our neighbors, and the Indian people.
There are several different kinds of Powwows, thought the two most common are known as
traditional and competition Powwows, respectively. In traditional Powwows everyone who
participates in the dance or singing programs is awarded day money. While there is still a
degree of competition in the dancing events, it is somewhat informal and ceremonies such as
honorings, giveaways, “first” dances and adoptions are also important activities of the day. A
competition Powwow, on the other hand, has significant prize money available for the dancers,
depending upon the resources available to the individual host tribe. While everyone can still
compete and dance, only the dancers who place near the top of the competition receive prize
money. Drum groups also compete for prize money.
The Powwow is organized by the Powwow committee, a dedicated group of members of the
host tribe. Their work involves the bringing together of the drums, dancers, entertainment,
food, crafts booths, and the administration of the Powwow grounds (parking, registration,
camping, sanitation, sound system, and security). Once the Powwow begins, it is run by the
Master of Ceremonies (MC) and Arena Directors. Different MCs have different styles and the
choice of an MC greatly influences the feel of the Powwow. The MCs provide a running
commentary of events, announcements, and most importantly background information about
the dances, rituals and spirit of the Powwow. Instilling appropriate humor into the proceedings
is also the work of the MC. The Arena Directors keep the event moving and manage the flow of
activity in the arena. At any one time, they may be telling the drums who will play next and
what kind of song to have ready, seeing to the accommodations of the judges, or organizing the
dancers. It is an extremely active and important job.
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What to do or not do at a Pow-Wow
It’s always good to see people from many different backgrounds attending powwows, and
learning more about Native cultures and ways, but sometimes not everyone acts as they should.
Here are some general guidelines to follow:
The Arena:
Blessed before dancing, the arena is considered a sacred ground and should be treated with
respect. Profanity and unruly behavior should not be used. Never cut across it to get to the
opposite side. Treat the arena as you would treat church. Go in the “door” and out the same way.
The MC will specify who is to dance and when spectators may participate.
Recording:
Photos of individual dancers should only be taken with their permission and no commercial
photography without first checking with the MC and powwow staff. Tape recording of the drums
should be done only after asking the drum group. Video recording should be only for personal
use, unless by previous arrangement with the staff. Absolutely no recording of any kind on Honor
Songs, Gourd Dancing, prayers, or at any other time the MC specifies.
Tobacco, Alcohol and Drugs:
Powwows have strict rules against alcohol and drug use in the entire area of the powwow, and
most prohibit smoking near the arena.
Arts and Crafts:
At any given powwow, you will find a wide array of traditional arts, handmade crafts, and jewelry
for sale. Often this is how these vendors make a living, and sell quality goods at a reasonable
price. Most will not accept checks, so it is a good idea to have cash on hand. Please use care when
handling merchandise, and please watch your children.
The Regalia:
Dancers wear traditional regalia, not costumes, when they dance. Every part of a dancer’s regalia
is very important to him or her for various reasons. Many hours go into the intricate beadwork
and detailing, and full set of regalia may take years to complete. The feathers or leather may be
over 100 years old and fragile. Please never handle any part of a dancer’s outfit. Complete and
proper full regalia often costs a great deal of time and/or money. For example, a man’s roach
now runs over $300, and banded-selvedge wool broadcloth runs around $75 per yard. Southern
buckskin beaded dresses will run over $4000. If you aren’t prepared to invest at least a few
hundred dollars, stick with nice ribbon shirts and shawls. They are always acceptable, and are
infinitely more respectful than wearing a half-baked attempt at regalia. Those who aren’t of
Indian descent don’t usually dress in regalia unless they are married to or adopted-by an Indian,
but it is perfectly acceptable for anyone to wear a nice ribbon shirt or ladies pow-wow shawl.
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Men’s Dances:
Northern TraditionalThe dancer wears a bustle, often of eagle fathers, a bone bead breastplate, leggings, beaded
moccasins, a beaded belt, ankle bells, a porcupine roach headdress, breechcloth, various
beaded accessories, and carries an eagle feather fan. These dancers often paint their faces in
different styles, sometimes derived from their family or nation’s designs. Out of respect for this
dance, spectators may be asked to stand.
Southern StraightIn this style, the dancer represents a warrior scouting the enemy. The regalia usually consist of
a porcupine roach, or an otter-skin turban, an otter skin trailer, vest, bead or ribbon work, arm
cuffs, leggings, a breechcloth, a bandolier, beaded moccasins, and a ribbon shirt. The dancer
carriers a feather fan, and perhaps a staff.
GrassThis is the oldest style of the powwow dances. Originating in the plains, there are several
stories as to how it started. One version (Ponca) tells of when, long ago, the people went to an
isolated spot on the prairie to give thanks. Some of the men stomped down the grasses to make
way for dancing. The regalia consist of yokes and breechcloths fringed with rows of brightly
colored yarn (grass), usually a roach headdress, fringed anklets, and sheep bells worn around
the lower legs. Grass dancers use many sways, dips, and sliding steps.
FancyThis dance originated in Oklahoma and is one that lets each dancer demonstrate this athletic
and originality. Acrobatics are not uncommon, and this dance requires a lot of endurance. The
men wear double bustles, usually trimmed with brightly dyed hackle feathers, decorated yokes,
and breechcloths, angora anklets with sheep bells, beaded moccasins, armbands, and a
porcupine roach.
Women’s Dances:
Northern TraditionalThere are two types: buckskin dresses often have fully beaded yolks, long fringe, and the
dancers may wear long breastplates, and beaded moccasins and leggings. Cloth dresses are
commonly decorated with elk teeth or dentalium shells, and breastplates. Both style of dancers
carry a shawl folded over an arm, and carry an eagle feather fan. This dance is one the requires
much skill to stay in perfect rhythm, stepping lightly, slightly bobbing up and down, and
allowing the fringe on their dresses and shawls to sway gracefully.
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Southern TraditionalThe style of these dresses comes from the southern plains down to the Gulf States. Also
included are the long, tiered dresses common to the southeast. Some have elaborate ribbon
work (depending on the wearer’s Nation), a shawl folded over an arm, and maybe a concho
belt. The beat is slower on Southern songs, and the dancer sways side-to-side gracefully as she
steps.
Jingle DressThis dance comes from the Ojibway Nation and started in about the 1920s. The dresses are
decorated with rolled snuff can lids (other types of metal lids may be used), which hit each
other when the dancer moves, creating a pleasing “jingle” sound. She carries a feather fan, and
sometimes a scarf or beaded purse. Beaded leggings, moccasins, and a beaded or concho belt
complete the outfit. Besides the traditional jingle step, they also use a sidestep, in which the
dancer moves both feet along in a slide-type motion, or steps sideways to the beat.
Fancy ShawlThis dance is said to represent the transition of a cocoon to a butterfly. Women wear calflength skirts, a beaded or sequined cape/vest, and matching leggings and moccasins. The shawl
is worn across the shoulders, and held slightly out the elbows. The dancer uses spins and
freestyle footwork to demonstrate her originality.
Gourd DanceAt many powwows, the Southern Plains tradition of the Gourd Dance is observed. This is a
ceremonial dance done only by members of certain warrior societies or clans, and serves to
bless and cleanse the dance circle. Songs are always sung in sets of four, and the group
participates in each song four times. Women, who are auxiliary members, dance behind the
men in an outer circle.
While the public is welcome to observe these proceedings, absolutely no photos or recordings
of any kind are to be made.
Round DanceIs a social dance that all dancers and spectators may participate in. It is done in a clockwise
circle stepping to the left in time to the drumbeat. Sometimes this is done as a Friendship
Dance with two concentric circles moving in opposite directions with people shaking hands as
they pass each other.
Blanket DanceIs done for a specific purpose such as defraying travel expenses of a special performance group
or to raise funds for special needs.
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Unscheduled Special DanceThe most common unscheduled special is a dance required when a participant drops an eagle
feather. When that happens, the feather can only be picked up by a veteran (usually the head
veteran), who, along with three other veterans, then dances in honor of the fallen warrior
represented by the feather. When the dance concludes, the head veteran picks up the feather
and returns it to the dancer who dropped it. Songs sung during this ritual are called “Charging
the Feather” songs. The dance is an embarrassment to the dancer who dropped the feather,
who often will not claim it. They must, however, in one way of the other give it away. One
explanation among many for this tradition is that when an eagle drops a feather and a human
picks it up, the eagle does not return to demand the feather back. Therefore, neither should a
human who dropped an eagle feather expect it to be returned.
Dances and Events
Grand Entry
The Grand Entry begins all powwows (unless there is Gourd Dancing). It is the important first
song, bringing all the dancers into the arena. The dancers enter in a certain order, often as
follows: Flag bearers first, then head dancers, veterans, royalty, men’s Northern Traditional,
Southern Traditional, Women’s Northern, Women’s Southern, Grass dancers, Jingle, Men’s
Fancy, Women’s fancy shawl, then the children.
Flag Song
Just as the United States has its own National Anthem, almost every tribe has its own Flag
Song, which is a song dedicated to the flags that are brought into the dance circle during Grand
Entry. The Flag Song is sung every time the flags are brought in, and every person in the arena
must stand and be silent to give the flag its proper respect.
Veteran Song
There are very few people in Native American culture who are as highly regarded as veterans.
Going back hundreds of years, songs have been sung for their actions, and this tradition
continues today. This century, Veteran’s songs have been written for WWI, WWII, Korea, Viet
Nam, and the Gulf War. Several tribes have their own Veterans Songs. When a Veteran’s song is
sung, all those who can stand must, and remove their hats in respect for those who served their
country.
Contest Song
Some powwows are competitions (alright, most are now). Dancers are grouped by dance style
and age, and complete for cash prizes. Each may be judged on creativity, staying with the beat,
and stopping at the right time. Many dancers make their living this way, yet many do not
complete, because they do not approve of such things.
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Intertribal
Everyone-Native American or not is invited to come out into the arena and dance.
Tiny Tots
Children are cherished in Native cultures, and many are started into the powwows at an early
age. Tiny Tots are for children under 5 years. Boys and girls that can hardly walk may be dressed
in full regalia, and mothers may take babies out. Everyone who participates is given a small gift,
such as candy or a dollar.
Honor Song
An Honor Song is sung for an individual for different reasons. For example, he or she may
have just graduated, lost a loved one, gained a new family member, or is starting a new style of
dance. During this song and dance, no recording if any kind is allowed. After the dancer and his
or her family and friends circle the arena once, everyone is invited to come and pay their
respects, then take their place behind them to finish the dance.
Give Away
Giveaways usually go hand-in-hand with Honor Songs. Gifts of any size are given for any of a
number of reasons. Maybe apparently for no reason at all, just to give. Gifts are often given to
complete strangers, which not only make the giver feel good, but shows their generosity. If an
individual does not have much money, his or her family and friends will donate gifts.
Men’s Fancy Shawl
Basically, this dance is for the men to wear a woman’s shawl and try to dance like Fancy Shawl
dancers. Always entertaining to observe, as of course, most men don’t look much like
butterflies as they stomp around. A winner is sometimes chosen by applause (and laughter).
Entering the Circle
This section is for new dancers, who have not grown up around the Pow-wow arena. Many
tribes did not originally take part in Pow-wows, particularly those living in the eastern United
States. However, today, many descendants of these tribes are wanting to enter the dance
arena. It would be best to learn from the Indian who has been around the Pow-wow arena a
long time. However, some of these people have no family or friends to learn the ropes from, as
those of us in “Indian Country” have. So be very wary of listening to anyone who dyes their hair
black, calls themselves names like “Pale Moon Dove” or “Two Bears Standing”, or in any other
way doesn’t seem legitimate. They problem aren’t. For those of you who don’t have anyone to
learn from, here are a few tips to help you along.
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When new dancers are getting ready to enter the Pow-wow arena, there are several things that
they should be aware of, and traditions that they should follow. It is of the utmost importance
to be sure that you are dancing, dressing, and following traditions properly. Real Indians don’t
just “jump in”.
Dancers who are new to the Pow-wow circuit should always discuss their regalia ideas with
experienced Pow-wow dancers before starting on anything, to be sure that the regalia they are
planning to put together will be correct. Leave the cheap white & black-dipped “eagle”
feathers, cheap beadwork, and pseudo-Indian-looking stuff to the “wanna-bees. They don’t
belong on real Indian regalia, and are sure to be the subject of mocking and ridicule from other
dancers and on-lookers. Schedule your vacation to attend one of the really big powwows, or
one in “Indian Country”, before you start on your regalia.
FEATHERS: There are excellent (and legal) realistic imitation hawk and eagle feathers available
from traders at Pow-wows, or by mail-order, for those who don’t have access to the real
feathers. Turkey or macaw feathers also make beautiful fans. Many Indian ladies carry macaw
fans. These alternatives are a safe bet for those who are not card-carrying members of a
Federally Recognized tribe. Be aware that Fish & Game officers occasionally (often) attend Powwows outside of “Indian Country”, looking for real eagle & hawk feathers used by folks who are
not obviously Indian, and checking that those people have a legal right to use them. If you are
stopped, at the very least, they will confiscate your feathers. Don’t risk it. We know
non0registers people that this has happened to and they were prosecuted and fined HEAVILY.
And don’t even THINK about buying real eagle or hawk feathers form someone selling them.
Agents might be watching them, and if they are caught, you’ll be in hot water too.
GIVEAWAYS: When entering the pow-wow dance arena in regalia for the first time, most
Indians “pay their way into the arena” with a formal “special” or giveaway. If you are not of a
Plains Indian tribe, you may not be required by your own tribal traditions to have a formal
giveaway, but most dancers entering the circle today do anyway. If you are required to and
choose not to have a formal giveaway, you will still want to honor the tradition of “paying your
own way into the organization sponsoring the dance, and singers at the drum. It is a privilege to
dance in the circle, and honoring traditions is the Indian Way, even if it isn’t YOUR tradition.
Remember that with Indians, it isn’t how wealthy you are, but how generous you are that
counts.
If you are going to have a giveaway, you need to plan for it well in advance and spread out the
purchase or making of your gifts so you don’t get in a crunch. Bed blankets and Mexican
serapes are common and appreciated gifts. Nice shawls are always an honor to receive.
Pendleton blankets and start quilts (or any handmade quilts) are the modern equivalent of a
buffalo robe as gifts, and are a great honor to the recipient. Cash is always a welcome gift and
people often give $5 to $10 along with a blanket or shawl. A small item or gift is usually
accompanies a gift of cash in any amount. If you know the recipient well, a more personal gift
chosen for that particular person is appropriate (a favorite color, an item of regalia, etc.).
Another popular item for giveaway or raffle at pow-wows is a new laundry basket piled high
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with groceries. When thinking of gifts, keep in mind that Indians are always cooking and feeding
people, and those who are on the pow-wow circuit travel and camp often. The host drums will
normally be given cash collected from your “special dance”, along with a carton or two of
cigarettes, sometimes a shawl or good blanket ( which can be raffled to raise money) and
sometimes small token gifts such as handkerchiefs, throat lozenges, guest towels, and the like.
When planning your giveaway, remember that without the singers at the drum, there would be
now pow-wow.
You will normally want to give gifts to the Head Man and Head Lady Dancers, Head Gourd
Dancer (if any), any Little Boy or Little Girl Head Dancers, Emcee, Arena Directors, Head Singer,
Head Gourd Dancer Singer (if any), the Host Drum (the singers themselves), the Princess (if
any), and the Host Organization (who is holding the dance). You can usually look on the flyers to
see who will be filling these positions.
Other people who also commonly receive gifts during a giveaway are the ladies who sing with
the center drum, any other drum(s) on the perimeter, an honored elder, and anyone else who
is a prominent person in the community or has been a personal friend or supporter of the
person having the giveaway. Another common practice is to set housewares, fabric, blankets, or
similar items on the ground around the arena, and then invite ladies in the audience to pick the
items in the arena. If you are a spectator who picks up a gift from the arena in this manner, be
sure to go directly up to the speaker stand and shake hands with the people who are having the
giveaway. You can also send someone around the arena passing out items to people in the
audience. And the children will scramble joyfully when someone scatters five to ten pounds of
wrapped candies throughout the arena (be sure to have enough so that every child can get
some). This is the only time when children are allowed to run around the arena.
Now that you have an idea of how much time, money, and planning in invested on coming into
the arena, you can appreciate what goes into making regalia and having a giveaway. This is by
no means a quick, cheap, or casual undertaking. People often plan giveaways a year in advance,
and entire families often help with gathering the gifts. Be sure to thank anyone who honors you
by giving you something for you to use for your giveaway. Be sure to consult with an
experienced pow-wow person before planning anything, because there are other things to
consider once your time is near, such as who will speak for you and your family during your
special.
Besides entering the arena, there are many other reasons to have a special/giveaway, such as
returning to the arena after a period of mourning for a close relative (often 1 year), a marriage,
graduation, birthday, anniversary, honor received return from military duty, etc.
DANCING: Onlookers and other dancers may not pay any attention to you if you’re not dancing
correctly while wearing street clothes. But you can be certain that once you put on regalia,
people will be watching you.
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*You must be in full regalia to dance in the Grand Entry, also called Parade-In. the only
exception is for people who are members of a host organization or honored guests. Gourd
dancers will wear their velvet sashes and bandoliers, and blankets if they have them.
*It is important to be IN STEP during Grand Entry, so that all the traditional dancers in the line
are in unison. Watch the Head Man/Head Lady Dancers and the experienced dancers. Match
your left and right footsteps to their steps.
*Be sure that your steps match the leader in a line of round-dancers. Don’t start your own line.
Leave that to the Head Lady Dancer, or other experienced dancers. Inexperienced dancers
should fall in down the line.
*After Grand Entry, men do not ente4r the arena until the Head Man Dancer has entered.
Women dancers do not enter the arena until the Head Lady Dancer has entered.
*Stay in time with the drum. Your foot should touch the floor exactly on the hard honor beats.
Watch the experienced dancers. During a round-dance or two-step, your left food should hit
the ground on the hard beat. Listen for a hard/long beat alternating with a soft/ short beat to
identify a round-dance song.
SONGS & DRUMS SOUTHERN DRUMS VS NORTHERN DRUMS: A host southern drum is
normally set in the center of the arena in the Oklahoma area. They may or may not be in the
center in other regions. Northern drums are always on the perimeter of the arena. Southern
songs are sung in lower men’s voices, with the ladies joining in towards the last of a “verse”.
Northern songs are sung in a much higher voice range, and are often faster than southern
songs. The ladies often join in with these songs also.
Most songs consist of a verse that is repeated 4 times. A Grand Entry song may be sung many
more times if there are a lot of dancers to enter the arena. A head singer starts the song, and
he is “seconded” by another singer. The whole drum group finished the verse, and then this
sequence is repeated 3 more times. Listen for 4 “starts”.
Southern songs usually have 3 HONOR BEATS in the middle of each verse. Northern songs lack
the set of 3 honor beats, but will have “hard” honor beats within the song. Either way, your feet
should hit the floor on the hard beats. Ladies dancing in northern buckskin and jingle dress
styles may “bless the crowd” by waving their eagle feather fans on the honor beats during
northern songs. Experience will tell you teach how to tell when a song is ending, or listen for 4
“starts”.
Ladies dancing in exhibition or contest dances to a southern drum should “bow” on the honor
beats. This means to gracefully bend forward on the last of the three honor beats. Continue
dancing with small steps and keep your shawl fringe swinging in time. Some ladies may go right,
then left. Stay down until the verse is about to end, and then slowly come up just before the
next verse is started.
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HAVE FUN!! While the pow-wow arena is a sacred circle, it is also a place of laughter, friends
and family, and an excellent place to raise children. There are always a few sour-pusses around
who may try to discourage a new dancer, but these people are best ignored. If you are dressed
properly, dancing correctly, and following the traditional protocol, you can enter the arena with
confidence.
Grand Entry- This begins the main event, as dancers enter the arena in order of dance style, led
by a color guard, pow-wow princesses, head dancers, and the host family or organization. This
may also be called “Parade In”.
Flag Song- Everyone should stand in respect during this song honoring all veterans, like an
Indian National Anthem. Most tribes have a flag song today. Flags may be American, Canadian
(often in northern states), state or tribal flags, a POW/MIA flag, and an “Indian staff”. The flag
song is often followed by a memorial song, victory song, and/or calling song.
Round Dance- Most tribes have a version of a “round dance”, sometimes called a “soldier
dance” or “friendship dance”. This dance circles the drum in a side-step movement. Fastermoving lines are nearer the drum. Ladies in some areas may also use a front/back side-step.
Everyone is welcome to enter the arena and join in the dance.
War Dance- A dignified “victory” dance, social in nature today, once danced only by the
warriors and best dancers, but today is danced by all.
Sneak-Up- A war dance, where the men dancers crouch low to the ground as if searching for
tracks, then rising to dance as if in pursuit or following the trail made by their prey.
Ruffle Dance- This is a danced by the men’s fancy dancers, which “ruffle” their double-bustles
during the fast drum-rolling sections of the song, and then dance very fast during the fast
sections. This dance originated with the Otoe-Missouria Tribe in Oklahoma in the early 1900’s.
Side-Step- This is a very fast dance where the ladies jingle-dress dancers use a variety of sideways scooting steps around the arena to a special song. The steps are not the same type of
side-ways movement as round-dancing.
Buffalo Dance- This dance may be preceded by a Snake Dance. Dancers move like a restless
herd of buffalo, then begin to “stampede” as the drum beats get stronger like pounding hooves.
Inter-tribal- Many inter-tribal songs exist today, as tribes come together to share their culture
and songs at pow-wows.
Two-Step- Couple dance this social dance together, in a lively version of “Follow-the-Leader”.
Its ladies choice, and the men can’t refuse it or it costs them $5 (or a piece of clothing/regalia,
some say). Everyone may enter the arena and dance. This is the only pow-wow dance where
the men and ladies hold hands while dancing as a couple.
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Trot Dance- This is a fast-paced song, which is danced with fast, single steps. Some tribes have
songs like this that are called “horse stealing” songs.
Crow Hop- This dance isn’t seen in the Oklahoma area very often, except at the very large intertribal pow-wows. This dance originated in the north (where the Crows live), and is also a fast,
single step song. Although the trot song and the crow hops sound is “enters the arena” for the
first time.
“Specials”- These dancers honor a person or group, who led a procession around the arena as
others join in. There are many reasons to have a special, such as a birthday, or when someone
is “enters the arena” for the first time.
“Give-Aways” – A give-away ceremony follows a “Special” dance. The honoree (and family and
friends) give presents to various people attending the dance as a way to publicly honor them.
Blanket Dance- Dancers drop money (usually $1 bills) on a blanket spread on the ground near
the drum, in appreciation of their fine singing. Singers may travel many miles nearly every
weekend to sing at various dancers, and “drum” money helps to defray their gasoline and
expenses. Everyone is welcome to enter the arena and dance.
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“THE GREAT SEAL”
The Great Seal of Choctaw-Apache people is a warrior shield.
The outside border is red representing the good red road of life.
The inside border is green signifying fertility, life, growth, and future.
Together they form the circle of life.
On the outside of shield are suspended eagle and red hawk feather.
These symbolize the two Indian peoples, the Choctaw and the Apache,
Whose blood runs through our veins and through the generations.
The logger head turtle on the shield represents Mother Earth.
She is the great healer and teacher, symbolizing patience, perseverance, and strength.
Carried on her back is river cane, symbolic of what our people lost to the inundation of our land.
Cane breaks were almost sacred places, as our ancestors depended on cane for many uses.
From cane they blowguns, darts, arrows shafts, shields, spears, rafts, baskets, bedding, wall
covering, containers, duck calls, whistles, flutes, and tubes for bubbling medicines.
The pipe is a scared symbol of reverence to our ancestors, of peace, brotherhood, council, and prayer.
The scared pipe and river cane are crossed, symbolizing the four directions, the four seasons,
and the four races.
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1994
The First Choctaw-Apache Tribe of Ebarb Pow-Wow
EMCEE: Walter Celestine (Coushatta)
Area Director: Thomas Muskrat (Western Cherokee)
Head Man Dancer: Rufus Davis (Caddo)
Head Lady: Jeanie Langley (Coushatta)
Head Gourd Dancer: “Skip” Ceniceros (Chirricahua Apache)
Singer: Mead Chibbitty and the Comanche Singers
Held at the Ebarb Community, the admission was free.
The Tribal Council:
Tommy Bolton-Chief
Victor Sepulvado-Vice Chief
The Council:
John W. Procell
Walter Meshell Jr.
Sheli Bolton Lafitte
Doug Laroux
Bennett King
Gail Acklin George
Ray Ebarb
Pow-Wow Committee:
Maudie Woodruff
Junanita Van Beathuysen
June Bolton
Patti Laroux
Rhonda Gauthier
Tribal Security:
Bennett King
Kim Lafitte
Stephen King
Phillip Ebarb
Hilton Ebarb
Honored Veterans (Tribal Warriors)
John W. Procell
Huey Cordova
Emmitt Parrie
Martin Sepulvado, Jr.
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1995
The Second Choctaw-Apache Tribe of Ebarb Pow-Wow
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Dedicated to the memory of Theresa River
Held in the Ebarb Community
The admission was free
Head Man Dancer: Douglas Williams, Jr (Alabama Coushatta Tribe—Livingston, TX)
Head Lady Dancer: Julia Morris (Alabama Coushatta Tribe—Kinder, LA)
Head Gourd Dancer: Henry Johnson (Choctaw Tribe—Ada, OK)
EMCC: Bertney Langley (Koasati Tribe—Elton, LA)
Arena Director: Thomas Muskrat (Western Cherokee—Stillwell, OK)
Drum: Brave hearts (Coushatta Tribe—Elton, La.)
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1996
The Third Choctaw-Apache Tribe of Ebarb Pow-Wow
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The Admission Free
Held at Ebarb Community
Head Man Dancer: Vince Edwards—Elgin, OK
EMCEE: Marvin Johnson—Grand Prairie, TX
Drum: Southern Warriors—Lawton, OK
Head Gourd Dancer: Henry Johnson—Ada, OK
Head Lady Dance: Eva Kay Pewo—Cyril, OK
Arena Director: Thomas Muskrat—Stillwell, OK
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1997
The Fourth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held in Ebarb Ball Park
It was free admission
Head Man: Rodney Poncho
EMCEE: Walter Celestine
Arena Director: Thomas Muskrat
Head Lady: Lori Barham
Head Gourd: Marvin Johnson
Drum: Southern Singers
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1999
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2000
The Seventh Choctaw-Apache Tribe of Ebarb Pow-Wow
Head Staff:
Head Man Dancer: Clint Poncho
Head Lady Dancer: Jessica Paul-Reyna
Head Gourd Dancer: Herbert Johnson, Sr.
Arena Director: Bonnie Bolton
EMCEE: Herbert Johnson, Jr
Host Drum: Otter Trail
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It was held in the Ebarb Community
The admission was free
Tribal council were:
Tommy Bolton-Chairman
Glenda Etheridge- Vice Chairman
Phillis George- Secretary
Susan King Lee- Treasurer
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Council Members were:
Pat Ebarb
Silas Lee Ebarb
James Doug Laroux
Virgina Laroux Malmay
Albert “Buster” Rivers
Alene Rivers Wright
Office Staff was:
Amy Parrie- Project administrator
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2001
The Eighth Choctaw-Apache Tribe of Ebarb Pow-Wow
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Head Staff:
Jess Oosahwe- Head Man
Kathy Bergeron- Head Lady
Odis Sanders- Head Gourd Dancer
Herbert “Chickdog” Johnson- MC
Thomas Muskrat- Arena Director
Otter Trail- Host Drum
Held at Ebarb Community
• The admission was a $1.00
• They introduced the first princesses in
the Pow-wow.
• Princess-Virgina King
• Teen Princess-Rebecca Ann Bolton
• Jr Princess- Mary Westbrook
• Little Princess-Kristen Haley Meshell
• Jr Princess Runner Up- Lauren Procell and
Crystal King
Tribal Council
Tommy W. Bolton-Principal Chief/Tribal Chairman
Glenda Etheridge- Vice Chairman
Susan King-Lee- Treasurer
Pat Ebarb- Council Member
Silas Ebarb- Council Member
Doug Laroux- Council Member
Virgina Malmay-Council Member
Alene Wright-Council Member
Albert “Buster” River-Council Member
Committee:
• Susan King-Lee
• Sheli Bolton Malmay
• Albert “Buster” Rivers
• Pati and Doug Laroux
• Marla Malmay Ferguson
• Kenneth Garcie
• Bonnie and Carolyn Bolton
• Pat and Connie Rivers
• Silas Ebarb
• Tammy Bailes
• Lisa Malmay
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2002
The Ninth Choctaw-Apache Tribe of Ebarb Pow-Wow
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Held in the Ebarb Ball Park
Admission was $1.00
Head man: Jess Oosahwe
Head Lady: Shauna Bushiey
Head Little Man: Trey Daniel Elliot
Head Little Girl: Haley Meshell
Head Gourd: Robert Soto
Arena Director: Thomas Muskrat
EMCEE: Herbert “Chickdog” Johnson, Jr
Host Drum: Pat Oyebi and the Drumbusters
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2003
The Tenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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Held at Ebarb Ball Park
The admission $1.00
Arena Director: Thomas Muskrat
EMCEE: Herbert Johnson Jr.
Host Drum: Drum Busters
Head Man: Robert Crooks
Head Lady: Betty Russell
Head Little Man: Samuel Laroux
Head Little Lady: HarLee Possoit
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2004
The Eleventh Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at the Ebarb High School Ball Park
The admission was $1
Head Man: Justin Muskrat
EMCEE: Ken Dixon
Host Drum: Bear Claw
Head Lady: Brandi Brown
Arena Director: Thomas Muskrat
Head Gourd Dancer: Otis Sanders
Tribal Council:
Tribal Chairman: Tommy Bolton
Vice Chairman: Doug Laroux
Secretary: Amy Malmay
Treasurer: Virginia Laroux Malmay
Council People:
Alene Rivers Wright
Bonnie R. Bolton
Silas Ebarb
Pat Ebarb
Lisa Malmay
Gary “Pye” Laroux
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2005
The Twelfth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at Ebarb High School Gym
Principle Chief/Tribal Chairman: Tommy
W. Bolton
Vice Chairman: Doug Laroux
Secretary: Amy Malmay
Treasurer: Virginia Malmay
Head man: Jess Oosagwe
Head Lady: Janelle Precella
Head Gourd Dancer: Odis Sanders
Host Drum: Bear Claw
EMCEE: Herbert Johnson Jr.
Arena Director: Thomas Muskrat
Tribal Council:
Alene Wright
Buster Rivers
Kenneth Ebarb
Silas Ebarb
Bonnie Bolton
Lisa Malmay
Dedicated to the Memory of Alene Veronica Rivers Wright
Choctaw-Apache Family Overview:
Families that settled in the early 1700s:
Cartinez, Cortinez*,Castie, Castillo*,Cordova*,Garcie, Garcia*,Lafitte*,Laroux*,Leone,
Lionnis, *Lopez*,Mechelli, Meshell*,Mora*,Padallia, Paddie*,Parrilla, Parrie*,Procell,
Prosela, Procela*,Rivers, del Rio*,Sanchez*,Sarnac, Sharnac,
Ezernack*,Torres*,Ybarbo,Ebarb*,Ramirez,Remedies*
Names that appear after the 1860 U.S. Census:
• Malmay
• Manshack
• Martinez
• Castillo-Castie
Maternal names of late 1700s-mid 1800s:
• Caro or Cano
• Acosta
• De al Ara Dosos
• Carmona
• Equis (means your X)
• Estradas
• Gagne
• Quintero
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Toby
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2006
The Thirteenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at Zwolle Festival Grounds
Dedicated to the memory of Amy Malmay
Head Man: Thomas Dardar
Head Lady: Debra Swindoll West
Head Gourd: John W. Procell
Arena Director: Thomas
Muskrat
Emcee: Walter Celestine
Host drum: Bear Claw
Members of the Bear Claw
Sonny Blackbear
Darrell Blackbear
Hamilton Tongkeamha
Paul Soliz
James Yellowfish
Tim Yellowfish
Byron Komah
Anthony Cordova
Tina Stroud
Harriet Stroud
Andrea Yellowfish
Sally Yellowfish
Lorene Yellowfish
Beth Cordova
Stella Stroud
Tana Bass
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2007
The Fourteenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at Zwolle Festival Grounds
Head Staff:
Head Man Dancer: Jess Oosahwe
Head Lady Dancer: Brittany Meshell
Head Gourd Dancer: Adam Proctor
Host Drum: Bear Claw
EMCEE: Walter Celestine
Arena Director: Thomas Muskrat
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2008
The Fifteenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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Dedicated to our military
It was held at the Zwolle High School Gym
Head Staff:
Head Man Dancer: Quanah White Thunder
Head Lady Dancer: Crystal Battise
Head Gourd Dancer: Jess Oosahwe
Arena Director: Thomas Muskrat
EMCEE: Herbert “Chick-Dog” Johnson, Jr.
Host Drum: A/C Woodland
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2009
The Sixteenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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Dedicated to the memory of Odis Marvin Sanders Sr.
Head Staff:
EMCEE: Harold R. Comby
Head Man: Randy Solomon
Head Lady: Sheri Keele
Head Gourd: Tony Conrad
Host Drum: Southern Pine Singers
Head Little Man: Jacob Rivers
Head Lil’ Lady: Raven Crooks
Choctaw-Apache Royalty:
Princess: Alexis Hubbard
Jr Princess: Haley Meshell
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2010
The Seventeenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at Zwolle High School
The Choctaw Apache Tribe of Ebarb and Sabine Parish School Board host Children’s Native
American Culture Day
Head Staff:
Master of Ceremonies: Ken Dixon
Arena Director: Vance Beaver
Head Gourd Dancer: Travis Harris
Head Man: Ricky Garcie
Head Lady: Janelle Peavy
Drum: Frank Tongkeamha
Head Little Lady: Barbara Remedies
Head Little Man: Trenton Malmay
Flute: Danny Dyson
Beading: Jo Harris
Pine Needle Baskets: Jackie
Edwards
Fry Bread: Gayla Rivers
Tamales: Maudie Woodruff
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2011
The Eighteenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at the Zwolle Festival Grounds
Head Staff:
Master of Ceremonies: TBA
Arena Director: Thomas Muskrat
Head Gourd Dancer: Ron Alex
Head Man: Justin Muskrat
Head Lady: Alexis Hubbard
Drum: Oklahoma Boys
Head Little Lady: Nicole Malmay
Head Little Man: Samuel Laroux
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2012
The Nineteenth Choctaw-Apache Tribe of Ebarb Pow-Wow
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It was held at the Zwolle Festival Grounds
Master of Ceremonies:
Quanah White Thunder
Arena Director: Travis Harris
Head Gourd Dancer: Dave Flanders
Head Man: Robert Crooks
Head Lady Drum: Mary Keller
Head Little Lady: Raven Ezernack
Head Little Man: Hunter Leyva
Pow Wow Committee:
Jake Rivers
Pam Cartinez
Jerry Cartinez
Amelia Bison
Joanne Sepeda
Virginia Malmay
Nancy Sanchez
Christin Leone
Melody Hubbard
Alexis Hubbard
Marla Ferguson
Roger Ferguson
Susie Sepulvado
Kallie Russell
Dorothy Harper
Tom Rivers
Rebecca Samples
Debbie Rivers
Robin Rivers
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Special Thanks
The Powwow Committee would like to thank a few special
people for making this year’s festival book a complete
success! We could not have done it without you!
All of our Sponsors, Advertisers, and Vendors
Donald Garcie- School Board Member
Mr. Dyess- Principal
Mr. Hennigan- Ebarb Business Teacher
Paige Diener, LeeAnna Ebarb, Lauren Garcie
And Alex Dickerson
Page 47 of 52
Sabine Parish Tourist & Recreation Commission
1601 Texas Hwy.
Many, LA 71449
318-256-5880 | 800-358-7802 | Fax: 318-256-4137
Address: 1601 Texas Hwy
Many, LA 71449
Phone: 318-256-5880
Toll Free: 1-800-358-7802
Page 48 of 52
Zwolle Field Office
35 Lonnie Road
Zwolle LA 71486
(318) 645-6757
FAX: (318) 645-6757
Toll Free: 1-866-642-1325
Amelia Bison, Rehabilitation
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711 Paragon Place
Marksville, LA 71351
(318) 253-1946
www.tunicabiloxi.org/
Page 51 of 52
THE HISTORIC INDIAN TRIBES OF LOUISIANA
CONTEMPORARY INDIAN TRIBAL LOCATIONS AND LINGUISTIC RETENTION
LANGUAGE GROUPS
MUSKOGEAN FAMILY
Choctaw
Houma
Koasail
Alabama
Mobilian Jargon
SIOUAN FAMILY
Biloxi
UNCLASSIFIED
Atakapa
Chitimacha
Tunica
Tribes with retained languages in use daily
Tribes with partial language retention—
Lexical items or songs—rare usage
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