Acknowledgments  ix

Introduction  1

Part I. Northern Plains Powwow Culture  

1. Powwow Practices: Competition and the Discourse of Tradition  27

2. Powwow Songs: Aesthetics and Performance Practice  63

3. Drum Groups and Singers  112

Part II. The Mediation of Powwows  

4. The Powwow Recording Industry in Western Canada: Race, Culture, and Commerce  143

5. Powwow Music in the Studio: Mediation and Musical Fields  187

6. Producing Powwow Music: The Aesthetics of Liveness  212

7. Powwows "Live" and "Mediated"  241

Coda. Recording Culture in the Twenty-First Century  268

Appendix: Notes on the CD Tracks  282

Notes  289

References  311

Index  323

A photo gallery appears after page 140.  

Association for Recorded Sound Collections (ARSC) Certificate of Merit in the Best Research in Folk, World, or Ethnic Music category

“While the book makes a clear contribution to the interdisciplinary field of indigenous studies, the work will also be of interest to scholars in cultural anthropology, folklore studies, and the author’s field of ethnomusicology. With this new title, Duke University Press continues its work of publishing important scholarship in Native American and indigenous studies that advances the field while consciously reaching beyond it to make accessible contributions of interest to scholars working outside its boundaries.”—Jason Baird Jackson, Anthropological Quarterly

Association for Recorded Sound Collections (ARSC) Certificate of Merit in the Best Research in Folk, World, or Ethnic Music category

“While the book makes a clear contribution to the interdisciplinary field of indigenous studies, the work will also be of interest to scholars in cultural anthropology, folklore studies, and the author’s field of ethnomusicology. With this new title, Duke University Press continues its work of publishing important scholarship in Native American and indigenous studies that advances the field while consciously reaching beyond it to make accessible contributions of interest to scholars working outside its boundaries.”—Jason Baird Jackson, Anthropological Quarterly

"Recording Culture is an exceptional contribution to knowledge about contemporary Native American cultural initiatives. Within studies of powwow music, it is unique in its focus on aspects of CD production and issues related to the commodification of Native culture. It also provides original insights into matters such as the subtleties of drum beats, the evolving distinctions between song forms, and the criteria for judging powwow music. Christopher A. Scales's experience as a producer, as well as an ethnomusicologist, is particularly significant, since the material that he analyzes is not easily accessible outside the recording studio."—Beverley Diamond, author of Native American Music in Eastern North America: Experiencing Music, Expressing Culture

"This is a fascinating study, at once deeply historical and thoroughly contemporary. Through his detailed exploration of the shifting ethics and aesthetics of powwow performance, Christopher A. Scales insightfully shows us how the powwow has always been a contemporary practice of identity negotiation."—David W. Samuels, author of Putting a Song on Top of It: Expression and Identity on the San Carlos Apache Reservation

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