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Miss GNAA Indian Princesses



Miss GNAA 2001-2002 - 16 Years to 22 Years - Alicia Thomas, Lumbee
Junior Miss GNAA 2001-2002 - 9 Years to 15 Years - Kimberly D. Hunt, Lumbee
Little Miss GNAA 2001-2002 - 4 Years to 8 Years - Sierra M. Locklear, Lumbee

1999 - Danyel Locklear (Sr.)
1999 - Kasie Hunt (Jr.)
1999 - Briana Polanco (Little)

1991 - Andrea Jacobs (Sr.)

1990 - Kim Bryant (Sr.)

1989 - Ann Marie Locklear (Sr.)

1988 - Shannah Tyler (Sr.)
1988 - Wanda Oxendine (Jr.)
1988 - Jennifer Hunt (Little)

1987 - Amanda Jacobs (Sr.)
1987 - Melissa Godwin (Jr.)
1987 - Dana Beck (Little)

1986 - Angela Jacobs (Sr.)
1986 - Cassandra Oxendine (Jr.)
1986 - Tonya Locklear (Little)

1985 - Tammy Hunt (Sr.)
1985 - Tonia Locklear (Jr.)
1985 - Tonya Oxendine (Little)

1984 - Bridgette Chavis (Sr.)
1984 - Ann Marie Locklear (Jr.)

1983 - Angel Hunt (Jr.)
1983 - Star Mills (Little)

1982 - Nora Dial (Sr.)

1981 - Donna Strickland (Sr.)

1980 - Lisa Cummings (Sr.)

1978 - Becky Brewington (Sr.)

1977 - Sharon Scott (Sr.)

Ms. GNAA Senior Citizen Indian Princesses…

Ms. Thelma Huggins
Ms. Neva Locklear
Ms. Katie Robins
Ms. Eunice Locklear

The Dance Arena

Dance arenas can be any open ground large enough to comfortably accommodate all participants and observers. The audience or observers may sit on lawn chairs or bleachers if provided, but must not sit on the benches that are provided for the dancers. Before any activities, including games for children, and may be conducted within the dance arena, it is the duty of the Arena Director to see that all dancers are comfortable and the singers and dancers have water or that their needs are filled. He also has the obligation of maintaining the sanctity of the arena during the Pow Wow period. He also keeps the audience informed of the activities of the day.

Head Dancers

Brenda Sexton, Head Dancer Lumbee

Keith Colston, Head Dancer Tuscarora/Lumbee

One of the major characteristics of the Southern style Pow Wow is the presence of a man and women head dancer. These are honored positions and the persons invited to fill them are usually the finest dancers or persons in the Native American community. The head dancers begin the dancing for each set of songs and no one else should dance before the head dancers begin. They also lead all special dances such as the "two-step". Because the individuals who are asked to be head dancers are honored by their selection, they often times will have a "give-away" to show their appreciation and give their thanks to their friends at the dance.

The Drum

The drum is composed not only of the instrument, but the Head Singer and all other singers that feel they can qualify. Usually an Indian drum is considered "Open," that is, anyone may come and sit in who feels qualified or has knowledge of Native American songs. A drum, on occasion, may be declared a "Closed" drum and only those who have been invited may sing. In any case, it is always proper to ask if one may sit in and the person to approach is usually the Head Singer. The importance of this position is to be observed at all times.

Native Americans regard the drum as the oldest thing he remembers and it is looked upon as something that has always been with him. The drum is considered to be the grandmother and to be looked upon with respect and dignity. There shall be no profanity around the drum and no person shall consume alcoholic beverages nor approach the drum if they have been drinking. Any person who sits at the drum must feel in his heart that he is not better than any other person sitting around him.

Native American Dances

Men's Traditional Dance

The Traditional Dance is the original dance of the Indians of the Northern plains. Its origin is lost in antiquity, but its style allows for much individual expression on the part of the dancer. This is the reason for its growing popularity among many tribes.

There is a close similarity of story line to the Southern Straight Dance - that of a war party recounting its feats for the tribe. The use of a long "coup stick" and the motion of the feather bustles heighten the interest.

A much slower tempo allows the dancer to convey his emotions in a singular fashion. He always faces his enemy, never turning a complete circle. Faces are painted in a way designed to intimidate the imaginary opponent with the fierceness of the brave. The dancer will mimic each element that makes up his regalia.

Most interesting is watching the storyline develop as each dancer challenges the enemy. Even with the slow tempo, the rhythm must be in harmony with the drum. As an observer, one should try to interpret each motion and compare the different ways dancers imitate the eagle or the porcupine.

Ladies' Traditional Buckskin Dance

Formerly the exclusive dance of princesses and ladies in leadership roles, the Ladies' Traditional Buckskin Dance is now open to all ladies. Traditionally, this was a dance of the Northern tribes, but is now danced by Southern tribes as well. The Northern dancer usually stays in one area, lightly bouncing to the beat of the drum, displaying dignity and grace.

The slower beat and step of the Southern version of the dance is in sharp contrast to the faster dance of the Northern tribes. The difference in rhythm makes it necessary for the Northern Traditional and Southern Buckskin to be danced as two events.

At a given time during the song, the dancer salutes the drum with her fan in a beautiful expression, "the catching of the spirit of the drum."

Discipline is essential to the slow, graceful movements of the dance. Dancing in perfect harmony with drum, while never breaking the sedate spirit, is essential. The dips and sways are executed with no break in dignity.

Fancy War Dance

By the turn of the last century, when the American Indians were no longer at war, the War Dance was taking on a new meaning. It has become a way of recalling deep-seated feelings and traditions, and of passing on a sense of pride in Native American culture to new generations. Fancy it is - in regalia - in its intricate steps - in the very fast beet of the drum.

Although it is patterned after traditional steps of both Northern and Southern styles, the Fancy Dance allows the men to exhibit considerable individuality. The fast pace is also a demonstration of individual stamina.

The elaborate regalia features feather bustles, one at the top of the black and a larger one at the bottom of the back. Headdresses are topped with one or two feathers mounted in rockers that move back and forth with the motion of the head to the beat of the drum.

Following the rhythm of the drum, the motion of the head and the flow of the body are important elements in the Fancy Dance. Since the styles are individual, the expression of the emotion of the music and the changes of pace from the slower Northern style to the faster Southern beat are important. As in all Native American dancing, the finish in exact time with the song is significant in the judging.

Fancy (Shawl) Dance

Shawl Dancing is the women's version of fancy dancing. It is a new style, having been around only a couple of decades. Fancy (Shawl) Dancing originated among the Northern tribes and was quickly adopted by the Southern tribes. Each dancer has her own unique style. The most evident aspect of them is their shawls. Their regalia is comprised of bright color of various designs.

When judging a Fancy (Shawl) dancer, one looks for the ability of the dancer to sway their shawl with great motion. Most important is the original footwork that accompanies a Fancy (Shawl) Dancer. This footwork should be consistent with the rhythm of the drum.

Grass Dance

Among the most ancient of the surviving tribal dances is the Grass Dance. At least three tribes dance their version, with each of them having different ideas as to the origin of the dance. To some, it simply is an expression of the gentle, swaying movement of grass on a windy day. The abundance of fringes and ribbons on the dress enhances the graceful movement of the dancer's body as they sway in the imaginary breeze. Another tribe remembers dancing for the purpose of flattening the long prairie grass to prepare the ground for a larger tribal ceremony. To another, it originated to celebrate victory over an enemy. Anyone or all of these stories may be true.

The motion of the bodies should cause the flowing regalia to move in a way reminiscent of the long, blowing grass of the prairie. It should be danced in perfect time to the music, responding as the grass does to the motion of the wind. This dance is an expression of the harmony of the universe.

Jingle Dress Dance

Originating among the tribes of Canada, the Jingle Dress dance is new to the Southern plains. In the last few years, ladies of other tribes have begun to learn the dance and to perform it in competition. This is an example of a very old dance which held a very spiritual meaning, but that meaning is somewhat clouded by time. It is a dance of pride and dignity, which allows a significant amount of individual expression.

The Jingle Dress is not only very colorful, but furnishes much of the musical accompaniment for the dance. With the aid of long tubular cones from a fringe-like decoration, the dancer will "jingle" as she moves to the beat of the drum. Few dances can match the sheer brilliance of color and sound of the Jingle Dress Dance.

Dance steps and body movement that are not in time to the music are easily detected because of the music of the dress itself. Pride and grace is demanded in the attitude of the dancer and a certain reverence should be exhibited.

Specialty Dances - Aztec Dancers of Mexico City Specialty Dances - Hoop Dancing Specialty Dances - Hoop Dancing

25th Annual GNAA Pow-Wow - 2001

Watching Intently!

Framed Print Awarded to Nora Dial-Stanley Pow Wow Co-Chair (25th Pow Wow T-shirt design based on print.)

Ruth Revels, GNAA Art Gallery Director, Shares With the Littleturtles


The Childen in Procession Behind the Flag

Pow Wow Pictures - 1st Web Page

More Pow Wow Pictures - 2nd Web Page

Even More Pow Wow Pictures - 3rd Web Page

The 26th Annual GNAA Pow Wow will be
Friday, Saturday, and Sunday,
September 20-22, 2002.

...Digital and Certain 35mm Pictures by Ron Helms, Web Site Project Director
All Other 35mm Pictures by Sue Vaughan, Photographer - Email: CnvSsv@aol.com

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