Donald M. Bahr - Ants and Orioles: showing the art of Pima poetry
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Pima poetry, Tohono O'Odham poetry, Pima poetry--Translations into English, Tohono O'Odham poetry--Translations into English.
publication date
:
1997
lcc
:
PM2174.A2B34 1997eb
ddc
:
897/.45
subject
:
Pima poetry, Tohono O'Odham poetry, Pima poetry--Translations into English, Tohono O'Odham poetry--Translations into English.
Page iii
Ants and Orioles
Showing the Art of Pima Poetry
Donald Bahr
Lloyd Paul
Vincent Joseph
THE UNIVERSITY OF UTAH PRESS SALT LAKE CITY
Page iv
Copyright 1997 by the University of Utah Press All rights reserved Printed on acid-free paper
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Bahr, Donald M. Ants and Orioles : showing the art of Pima poetry / Donald Bahr, Lloyd Paul, Vincent Joseph. p. cm. Includes bibliographical references. ISBN 0-87480-549-X (alk. paper) 1. Pima poetry. 2. Tohono O'Odham poetry. 3. Pima poetryTranslations into English. 4. Tohono O'Odham poetryTranslations into English. I. Paul, Lloyd, 1919- . II. Joseph, Vincent. III. Title.
PM2174.A2B34 1997 879'.45dc21 97-29657
Page v
CONTENTS
Foreword
By Paul Zolbrod
vii
Introduction Purpose Of The Book
x
Part One Ant Songs
Chapter 1 Background: Working on the Texts, the History of Salt River, and Pima Mythology
3
Chapter 2 The Texts
32
Chapter 3 Myth and Sing: Principles of the Art
66
Chapter 4 The Sing Interpreted
80
Part Two Oriole Songs
Chapter 5 Oriole Lessons
107
Chapter 6 The Sing Quietly
114
Chapter 7 The Sing Loudly
144
Chapter 8 Conclusion: On Criticism
166
Appendix Three Papago Airplane Songs and the Dreaming of Ancientness
171
Supplement 1 Musical Notation
189
Supplement 2 On Translation
191
Supplement 3 On the Study of Individual Songs
193
References
195
Index
199
Page vii
FOREWORD
Paul Zolbrod
As Donald Bahr suggests at the outset, this volume asserts a claim all too seldom made: there is poetry in Native American oral discourse. In it resides the artistry of language conceptually framed and meticulously patternedartistry drawn from that secular past conventionally called history; from that sacred, mythic past commonly understood as religion; from that creative faculty sometimes identified as imagination; and from that shared reality that induces a culture to articulate its visions and values.
By offering as an example a sheath of Pima songs, Professor Bahr pursues more fully than anyone the poetic range of two tribes sharing a single language. His earlier contribution to Rainhouse and Ocean: Speeches for the Papago Year places dramatic oratory of poetic proportions on exhibit. More recently, his edition of The Short Swift Time of Gods on Earth reveals the rich narrative tradition the Pimas and Papagos have inherited from their common Hohokam ancestors. And with the publication of this volume, he demonstrates how that single language community fills the poetic spectrum as colorfully as any written European tradition can.
The method he has devised for placing the songs on a page, makes evident a lyric precision that surpasses other efforts to represent a body of Native American poetry in "the quiet language," as he calls conventional print. He produces a veritable sound spectrograph for each song, so that readers unexperienced at hearing them can visualize how individual syllables are strung together from line to line according to the key metered zones he has recognized. The statements he and his Pima colleagues make reawaken awareness of lyric's great importance not only to this people, but throughout the broader human community. Together they set a precedent for understanding the communal function of a living tribe's song, and the relationship lyric poetry can establish between individuals and sacred traditionin this case a tradition that speaks through
Page viii
dreams of "mythic persons." And in so doing, they rightly secure "the poetry of small nations" in the large arena of great literature.
Today's editors of old, alphabetically preserved works rarely if ever listen to or consult with actual singers the way Professor Bahr has done. Nor can they bring his ethnographer's experience to the matrix culture. Thus, his rendering of these Pima songs reminds us that in spite of the silence of print, poetry is a living art that articulates what is at once universal and particular. The relationship he draws between Pima songs and the fundamental myths of that tribe ushers the reader into a unique cultural mind-setexotic yet somehow familiarfascinating in and of itself for what it reveals about a people seen from a cultural distance while renewing what we know most deeply about ourselves. And because it provokes reflection on the way mythology and song combine to reconcile sacred and secular thought, it gives old European works unexpected new life.
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