This album offers ritual, ceremonial, and social music of Indians of the Eastern United States. It demonstrates remarkable similarities of style in the music of Indians from two distinct regions. Tracks 1-3 represent the Cherokee, Creek, and probably the now-extinct Natchez as well--all originally from the Southeast. Tracks 4-7 contain music of the Seneca (of the Iroquois Confederacy), from the Northeast.

The Indians of the Eastern United States have the distinction of being the first to encounter Europeans. As early as 1609 the English colonist William Strachey described the responsorial singing of the Virginia Algonkians. He mentions a groan by "the rest of the priests" at pauses in the invocation of the Chief Priest (Stevenson 1973: 401). He goes on to describe that their manner of devotion "is sometimes to make a great fire in the house of fields, and all to sing and dance about it in a ring with rattles and shouts, four or five hours together... and singing very tunable."

Two centuries later, in 1809, Major John Norton first suggested a comparison between the music of Northeastern and Southeaster tribes. He said, after witnessing a Cherokee dance:

In the dances [of the Cherokee] there is no great difference from those of the Shawanons [Shawnees] and the Five Nations [Iroquois Confederacy]. They dance round a blazing fire, the Leader singing and his followers keeping chorus. In some dances, there are singers beside, who are seated, singing and keeping time with a Chikicoo (a Gourd, with rattles inside) and Drum. When the Circle is complete, another is formed within it, and so in continuation till it resembles the Coils of a Snake. In some dances, at certain changes of the tune, the men turn to their follower (generally females, when enough are present), dance to each other, change places, then change again, until the air gives notice to proceed as before. (Klinck and Talman 1970: 55-56)

---------

SONGS AND DANCES FROM MEDICINE SPRING
Tracks 1-3
Recorded at Medicine Spring Ceremonial Ground (Tsalaqui Abihka), Sequoia County, Oklahoma, August 1975.
Singers: Archie Sam - Leader, Eli Sam - drum, Jobei L. Fields, Van Johnson, Credo Screechowl, Robert Sumpka, Luman Wildcat, Squirrel Wildcat
Shell Shakers: Eliza Sumpka - Leader, Sonja Fields, Levana Harjo, Evelyn Screechowl, Leona Wildcat.

The Cherokee and Creek Indians were forcibly removed from their aboriginal homelands east of the Mississippi to Indian Territory (now Oklahoma) during the 1830s. They regularly hold their ancient ceremonies outdoors around the sacred fires at Stomp Grounds throughout Eastern and Central Oklahoma. Because recordings are not allowed at religious dances, these selections were taped at a practice ground. That practice ground, Medicine Spring, is near the original sacred ground established after the removal known as the "trail of Tears."

The musical instruments use are crockery water drum, coconut-shell hand rattle, and terrapin-shell rattles worn by the women dancers.

SONGS AND DANCE FROM ALLEGANY
Tracks 4-7
Recorded at the Allegany Rerservation in Salamanc, New York, October 1975.
Singers: Leslie Bowen, Herbert Dowdy, Sr., Avery Jimerson, Johnson Jimerson, Marty Jimerson, Richard Johnny-John.
Dancers: Alvina C. Cooper, A. Eileen Jacobs, Fidelia Jimerson, Vera Jimerson, Cecil Johnny-John, Kevin Johnny-John, Lyford Johnny-John, Michael Johnny-John, Brian Mohr, Theresa R, Seltron.

In contrast to the Southeastern tribes' outdoor ceremonies, the Allegany Seneca, along with other Iroquois people, prefer indoor performances. Although the religious setting of the longhouse is favored, no recordings are allowed there. To emulate this setting, the dances presented here were held in the Slamanca Community Center.

Perhaps because if the indoor setting, the musical instruments used are similar to but smaller than those of the Southeastern tribes: a cylindrical wooden water drum, steer horn hand rattles, metal angle bells, a rawhide double-beaded frame drum.