The dream catcher, a captivating object of intricate design and profound symbolism, has woven its way into the tapestry of global culture. Once a cherished emblem of Native American heritage, primarily among the Ojibwe people, the dream catcher’s image is now ubiquitous, adorning everything from earrings and keychains to car accessories and mass-produced trinkets found in convenience stores worldwide. This widespread commercialization, however, raises a crucial question: Are Dream Catchers Losing the Native Tradition? While some Native American artisans and community members see an opportunity for cultural exchange and economic empowerment, others express deep concern that the sacred significance of the dream catcher is being diluted, trivialized, and even appropriated, transforming a powerful cultural artifact into a mere commodity.
The dream catcher’s origins are deeply rooted in the traditions of the Ojibwe, also known as Chippewa, people. Historically, these handcrafted objects served a vital spiritual purpose. They were meticulously constructed to resemble a spider’s web, woven within a wooden hoop, and traditionally hung above the cradleboards or sleeping areas of infants and young children. The belief was that the dream catcher acted as a filter, sifting through the myriad dreams that visit the sleeping mind. Good dreams, knowing the way, would gently glide through the openings in the web and descend upon the sleeper like soft feathers. Nightmares, on the other hand, would become entangled in the intricate web, trapped and held captive until the first rays of dawn would dissolve them and banish them from the dreamer’s realm.
The creation of a traditional dream catcher was not merely a craft; it was a ceremonial act. It involved a deep respect for the natural materials used, particularly the wood from the hoop, often willow, and an understanding of the spiritual significance of each element. The process was often accompanied by prayers and expressions of gratitude to the spirit of the wood, ensuring that the dream catcher would possess the power to protect and guide the child’s dreams.
However, the modern reality of dream catchers stands in stark contrast to these traditional practices. The mass production of dream catchers, often using synthetic materials and devoid of any spiritual intention, has led to a significant disconnect from their original purpose. Many commercially available dream catchers are made without adherence to traditional designs or materials, often incorporating embellishments that were never part of the original Ojibwe tradition. Furthermore, the widespread availability of "make-your-own" dream catcher kits, often sold at discount stores, further trivializes the process, reducing it to a simple craft project devoid of its spiritual essence.
Millie Benjamin, a member of the Mille Lacs Band of Ojibwe, voices a sentiment shared by many within the Native American community. She recalls the comfort she drew from the dream catcher that hung above her bed as a child. Today, however, she expresses dismay at the proliferation of dream catchers as fashion accessories and mass-produced items. She sees this commercialization as a sign of disrespect, a stripping away of the object’s inherent meaning and cultural significance. "It has gotten out of hand. It’s disrespectful for our people. It means something to us, it’s a tradition," she laments. For Benjamin, the right to wear or use certain cultural items is earned through a deep understanding and commitment to living a traditional life.
Gerald White, a member of the Leech Lake Band of Ojibwe, echoes Benjamin’s concerns. He emphasizes the sacred nature of the dream catcher, lamenting that it has "lost a lot of meaning, even in our own tribe." He sees the trivialization of the dream catcher as part of a larger trend of cultural loss, akin to the erosion of language and other vital aspects of Native American heritage. "It’s like losing our language, our culture – another symptom of a larger thing," he explains, highlighting the profound impact that cultural appropriation can have on a community’s identity and well-being.
Despite these concerns, some Native American artisans have found a way to navigate the complexities of the dream catcher market, using their craft as a means of economic empowerment and cultural preservation. Colleen Heminger-Cordell, a member of the Sisseton Wahpeton Sioux Tribe of South Dakota, has been creating and selling dream catchers for many years. She acknowledges the increased demand for dream catchers, particularly from non-Native individuals and companies, and sees it as an opportunity to share her culture and support her livelihood. While she sometimes incorporates customer requests for variations in design, such as using different colors for baby gifts, she remains committed to the integrity of the craft.
Ruth Garbow, an Ojibwe artisan who sells dream catchers at the tribe’s museum gift shop at Lake Mille Lacs, also sees the potential for dream catchers to serve as a bridge between cultures. She believes it is important to educate customers about the meaning and significance of the dream catcher, ensuring that they understand its origins and purpose. For Garbow, crafting and selling dream catchers is a way to showcase her talents and share her culture with the world. "If people like and enjoy having Indian crafts, I feel great," she says.
However, even those who embrace the commercial aspect of dream catchers recognize the importance of setting limits. Garbow, for example, draws a line at selling certain sacred items, such as jewelry that incorporates the four colors of the medicine wheel, which are traditionally reserved for specific rites, and some ceremonial dresses. This highlights the need for a nuanced approach to cultural exchange, one that respects the boundaries of sacred traditions and avoids the appropriation of items that hold deep spiritual significance.
Dark Feather Red Eagle, a storyteller and elder of the Pine Ridge Lakota Sioux, has sold over 1,000 dream catchers, maintaining that the object itself, while serving a purpose, is not inherently sacred. He distinguishes between dream catchers and other sacred objects, such as medicine pouches and ceremonial pipes, which he would never sell. This perspective underscores the diversity of opinions within the Native American community regarding the commercialization of cultural items.
Martha Jourdain, a cultural assistant with the Fond du Lac tribe in northern Minnesota, offers a contrasting viewpoint. She believes that dream catchers should be given away as gifts, not sold for profit. She views the widespread commercialization of dream catchers as a "mockery" of a sacred item, lamenting their presence in convenience stores across the country.
In conclusion, the question of Are Dream Catchers Losing the Native Tradition? is a complex one, with no easy answers. The dream catcher’s journey from a sacred object within the Ojibwe culture to a mass-produced commodity raises important questions about cultural appropriation, commercialization, and the preservation of indigenous traditions. While some Native American artisans see an opportunity for economic empowerment and cultural exchange, others express deep concern about the trivialization and disrespect of a sacred symbol. Ultimately, the future of the dream catcher lies in finding a balance between honoring its origins and allowing it to evolve in a way that respects its cultural significance and empowers Native American communities. The key is education, awareness, and a conscious effort to ensure that the dream catcher remains a symbol of hope, protection, and cultural pride, rather than just another mass-produced trinket. It is essential to remember the origin of Are Dream Catchers Losing the Native Tradition? to respect Native American culture.