DESCRIPTION:

Those familiar with the Native American flute probably know it as the love flute, a tool for men to court women, but that is only one small aspect of the native flute's history and use, even though, contrary to popular belief, the flute has never been the sole domain of the male.

C.S. Fuqua's The Native American Flute: Myth, History, Craft, is like other historical accounts, relying on fact polluted by myth and myth diluted by fact. This book, however, attempts to separate flute myth from fact by exploring the instrument's true place and function in historical and contemporary societies, detailing its development and use by women and men and the myths it inspired. The book's final section provides detailed instruction on crafting the modern and ancient versions of the flute.

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During research of Native American flute history, the facts, as they so often do, undermined popular history and mythology. Most know and promote the native flute as an extension of the male, an instrument invented specifically to enable a young man to cast a magical love spell over the rather feebleminded female he desires as his mate. Early written accounts of American Indian life came primarily from missionaries and explorers, folks definitely not in the best position to understand or judge Native American life enough to write about it. But judge and write they did, thus creating a horrendously detailed picture of savages who threatened to steal European ladies of culture and turn them into white squaws if the women happened to wander too far from camp. Those red devils, these accounts maintained, were notorious for unbridled sex among themselves and for attacking and scalping good Christian explorers who desired only to bring European civility, social harmony, and redemption to an evil and barbaric world.

Despite early accounts and accepted bigotry, native women weren't the docile and ineffective servants they were portrayed to be. They were far more independent, powerful, and equal than the frail, genteel women of European society. Native American women once possessed as much or more power within the tribal structure as men, a role that deteriorated as European values became internalized, but a role that has experienced a strong resurgence over the last 50 years. What does this have to do with the Native American flute? The flute is not now nor has ever been the sole domain of the male.

At most powwows these days, at least one or two venders of the Native American love flute show up to spread the word about the flute's power over the soul and will of a woman, a magical piece of wood once widely used by young warriors to woo women into loving them, as if women then (and now, presumably) could be enchanted into love solely by the music of a young mans flute. Maybe concentration on this one aspect of the flute's history results from cultural drift away from a maternal social structure to a paternal structure, inspiring a revision of history that negates or denies cultures that once enabled women with equal stature centuries before non-native women even thought about wearing pants or casting a vote.

The commonly accepted mythology of the native flute does nothing but reinforce a negative view of women. Take, for example, entries on various Internet sites that claim that only men played the flute -- no matter the culture or tribe -- and that its power, even today, is completely destroyed by the slightest touch of a woman. Such stories make for appealing romantic and chauvinistic myth, but not for accurate history. While hunting and courtship were, indeed, associated with the flute, its uses numbered many more than courting, were more diverse in intent, and were not restricted to the male.

The Native American Flute: Myth, History, Craft examines the flutes feminine side, structural development, and social history, from ancient societies to modern cultures and music. The book also provides complete and detailed instruction for crafting both the modern and ancient versions of the flute as well as tablature for several downloadable songs. Order The Native American Flute: Myth, History, Craft at http://www.awe-struck.net/NONFICTION2/tnaf.html.

Explore. Craft. Play. Celebrate.

REVIEWS:

“The sound of the native flute is absolutely haunting. To me, the sound touches the very depths of my spirit. Still, although I’ve always enjoyed the experience, I’ve never considered making or playing my own native flute. That is, until I found The Native American Flute in my review file.

“The Native American Flute is part history and part practical instrument creation. The majority of the book explores the nature of the Native American flute. Today it is widely accepted that the playing of this instrument is a male dominated activity. Being as most traditional Native American societies were matrilineal based with women serving as equal members of the community, this notion seems quite chauvinistic. Unfortunately, no clear answer is seen in wither the mythology mentioning music or in the archaeological evidence of these instruments.

“The final portion of the book, including some very good reference material in the appendixes, focuses on the actual making and playing of the Native American flute. Full details about how to create and tune such an instrument are provided as well as what scales will be represented once complete. The author even includes a few tunes to try on your new flute.

“I personally enjoyed both parts of this book. The first half appealed not only to the former archaeologist in me but also to the spiritualist wanting a deeper connection to the music. The later has spurred my imagination. Maybe I could actually give this instrument a try.” Reviewed by Dr. Tami Brady for TCM Reviews, http://www.tcm-ca.com/reviews/1873.html

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"The book does in fact, feature the prominent role held by women as anchors of Native American family life and as musicians and flautists. These roles are the thread used by Fuqua to weave insights into the rise, demise, and current resurgence of Native American flute playing from ancient to contemporary times. Even today, Native American women musicians play a prominent role in bringing the music of the Native American flute back into the contemporary mainstream. Yet, the cultural hardships faced are historic. This was related in the book by the story of Native American flautist and Grammy Award winner, Mary Youngblood, who was once “un-hired” from a concert when a lesser known Native American male flautist refused to play on the same stage with her (p. 72).

"Still, after decades of being held in cultural shadows, Native American music is experiencing a resurgence which makes The Native American Flute: History, Culture and Myth a timely book for music lovers, history and mythology buffs as well as those interested in Native American female history, crafts, and ethnology. Readers will be able to design a Native American style flute using the detailed lists of necessary tools and resources accompanied by illustrations and line drawings. Fingering and tuning charts along with tablatures of both Native American and familiar songs expand this book into a short practical flute music course.

"To actually have an inner glimpse of the concept, stories, and thinking patterns that formed a culture is a rare honor. Fuqua has provided such a glimpse into Native American culture in this well-referenced book. Armed with the new information provided by The Native American Flute: History, Culture and Myth you might find that others will soon start asking “what new song did you learn?” as you make flute crafting and playing a more intense part of your life." Reviewed by C. S. Meux, Ph.D., http://www.consuelomeux.com/blog