This extraordinary amateur-shot home movie, which might be titled “Meskwaki Powwow & Bentonsport, Iowa Homecoming” shows converging worlds from the late 1920s (it appears to date to 1926-27.) The opening section shows a sprawling Meskwaki tribe Powwow. Powwows and dances of native tribes are sacred, often used for celebration, meditation and to retain connection among community members. The second portion shows the Bentonsport Homecoming, which was an annual gathering in Bentonsport, Iowa complete with ball games, food, drink, music and song. The Homecoming was initiated by one Mrs. George Jack and one Martha Burton in 1923. The pair presented the idea to the homecoming association later hosted an ice cream festival for funds. It became an annual tradition falling on August 16th for three days of food music and connection. E. R. Harlan was in attendance.
The film is notable for many reasons. In the 1920’s, Native Americans were facing a period of degradation; federal policy led to poverty, disease and great dispossession of lands. The film provides a rare glimpse into Meskwaki people. Following a period of relocation in the 1800’s, portions of the Meskwaki fought the wave of what is known as ‘nadir of native history’ and returned to homelands by 1857 in Iowa in a plight to preserve and maintain their identity. The powwow was hosted at E.R. Harlan’s Altoona farm on September 4th-5th in 1927. Harlan served as the State Curator of the Iowa Historical Department for thirty years. He maintained a significant interest in Native American culture focusing his greatest efforts on the Meskwaki. Harlan’s bonds inevitably bleed deep with the tribe; he would be adopted into it and presented with a tribal name; ME-SHE-KA (the snapping turtle). Due to Harlan’s diligent and delicate efforts, the Meskwaki collections are some of the best documentation of any Native American objects in the museum collection.
00:00 It opens on the powwow; incredible jolting limbs under heavy feathered costume (:26). Youth of the tribe bend in front, stomp straight and adult members shoulder scoop forward after (:30). Wide shots capture a seated group at a table, a mass of tribe members push forward (:40). A man with staff stamps fervently rising from the table and relaxes into slow rhythmic dance (:45). A young boy plays with a stick toy (1:25). Female tribe members sit against the wattle and daub house (1:29). A man delivers a passionate speech (1:40). This might be E.R. Harlan himself though few images of Harlan exist on the internet. Seated female tribe members in delicate attire contrast the strong feathered headdress of male members to the right (1:46). Shots pass over the teepee and wattle house (1:51). Styles of dance shift between (2:31) and (3:06). Surrounding community members watch seated from grass positions (3:26). Shifting dance paces are captured between (4:12) and (4:19). The film switches to Bentonsport (4:58) an area known for experiencing little change since it’s heyday period as a popular steam port city. It is considered a historic district. Shots capture a baseball game (5:11); a 1920’s Chevrolet hangs in the back. Youth pump a water well (5:16). The camera pans over the Bentonsport Bridge (5:37); a historic feature of the city running over the Des Moines River erected in 1882. The historic post office follows (6:14) built in 1838 of walnut wood. The rail line delivers out of towners (6:50). Many would stay at the Mason House operated by Mrs. Frances Kurtz. Youth play in the river rocks (7:23). A pair rows a small fishing boat (8:55), wander up the grass (9:11) to weigh the fresh catch (9:34). They ready the fish (10:50); a man slices the head, descales (11:08) and shows off the skin as a suit of chainmail (11:20). A cigar smoker wades two boys and a girl on fishing boat out (11:59). Closing shots watch the crowds dressed up for the homecoming arrival (12:37). Guest speakers deliver speeches (12:51) and the youth play croquet (13:16).
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