Native Americans in Upper Midwest protect their drumming tradition
HINCKLEY, Minn. — At summertime social powwows and spiritual ceremonies throughout the Upper Midwest, Native Americans are gathering around singers seated at big, resonant drums to dance, celebrate and connect with their ancestral culture.
“I grew up singing my entire life, and I was always taught that dewe’igan is the heartbeat of our people,” said Jakob Wilson, 19, using the Ojibwe term for drum that’s rooted in the words for heart and sound. “The absolute power and feeling that comes off of the drum and the singers around it is incredible.”
Wilson has led the drum group at Hinckley-finlayson High School. In 2023, Wilson’s senior year, they were invited to drum and sing at graduation. But this year, when his younger sister Kaiya graduated, the school board barred them from performing at the ceremony, creating dismay across Native communities far beyond this tiny town where cornfields give way to northern Minnesota’s birch and fir forests.
“It kind of shuts us down, makes us step back instead of going forward. It was hurtful,” said Lesley Shabaiash. She was participating in the weekly drum and dance session at the Minneapolis American Indian Center a few weeks after attending protests in Hinckley.
“Hopefully this incident doesn’t stop us from doing our spiritual things,” added the mother of four, who grew up in the Twin Cities but identifies with the Mille Lacs Band of Ojibwe, whose tribal lands abut Hinckley.
In written statements, the school district’s superintendent said the decision to ban “all extracurricular groups” from the ceremony, while making other times and places for performance available, was intended to prevent disruptions and avoid “legal risk if members of the community feel the District is endorsing a religious group as part of the graduation ceremony.”
But many Native families felt the ban showed how little their culture and spirituality is understood. It also brought back traumatic memories of their being forcibly suppressed, not only at boarding schools like the one the Wilsons’ grandmother attended, but more generally from public spaces.
It was not until the late 1970s that the American Indian Religious Freedom Act directed government agencies to make policy changes “to protect and preserve Native American religious cultural rights and practices.”
“We had our language, culture and way of life taken away,” said Memegwesi Sutherland, who went to high school in Hinckley and teaches the Ojibwe language at the Minneapolis American Indian Center.
The Center’s weekly drum and dance sessions help those who “may feel lost inside” without connections to ancestral ways of life find their way back, said Tony Frank, a drum instructor.
“Singing is a door opener to everything else we do,” said Frank, who has been a singer for nearly three decades. “The reason we sing is from our heart. Our connection to the drum and songs is all spiritual. You give 100 percent, so the community can feel a piece of us.”
In drum circles like those in Minneapolis, where many Natives are Ojibwe and Lakota, there is a lead singer, who starts each song before passing on the beat and verse to others seated at the drum, which is made of wood and animal hide (usually deer or steer).
A drum keeper or carrier cares for the drum, often revered as having its own spirit and considered like a relative and not like personal property. Keepers and singers are usually male; according to one tradition, that’s because women can already connect to a second heartbeat when pregnant.
These lifelong positions are often passed down in families. Similarly, traditional lyrics or melodies are learned from older generations, while others are gifted in dreams to medicine men, several singers said. Some songs have no words, only vocables meant to convey feelings or emulate nature.
Songs and drums at the center of social events like powwows are different from those that are crucial instruments in spiritual ceremonies, for example for healing, and that often contain invocations to the Creator, said Anton Treuer, an Ojibwe language and culture professor at Bemidji State University.
Meant to mark the beginning of a new journey in life, the “traveling song” that the drum group wanted to sing at the Hinckley graduation includes the verse “when you no longer can walk, that is when I will carry you,” said Jakob Wilson.
That’s why it was meant for the entire graduating class of about 70 students, not only the 21 Native seniors, added Kaiya Wilson, who trained as a back-up singer — and why relegating it to just another extracurricular activity hurt so deeply.
“This isn’t just for fun, this is our culture,” said Tim Taggart, who works at the Meshakwad Community Center — named after a local drum carrier born in the early 20th century — and helped organize the packed powwow held in the school’s parking lot after graduation. “To just be culturally accepted, right? That’s all everybody wants, just to be accepted.”
The school had taken good steps in recent years, like founding the Native American Student Association, and many in the broader Hinckley community turned out to support Native students. So Taggart is optimistic that after this painful setback, bridges will be rebuilt
And the drum, with all that it signifies about community and a connected way of life, will be brought back.
“Nothing can function without that heartbeat,” said Taggart, whose earliest memory of the drum is being held as a toddler at a ceremony. “It’s not just hearing the drums, but you’re feeling it throughout your entire body, and that just connects you more with the spirit connection, more with God.”