For the official list of the 565 federally-recognized “Indian entities” as of October 27, 2010, see ( as well as the supplement ).
Here are some references for these two classes of tribes: (I have been told that the IACA-1990 actually was the first introduction of the term “state recognized tribe” into federal law). Two classes of Indian tribes are covered by IACA-1990: federally-recognized Indian tribes and state-recognized Indian tribes. See for extensive background on the IACA-1990. The IACA-1990 restricts how musical instruments can be named, reserving certain terms only to instruments made by such distinguished makers ( ). This public law distinguishes a maker who is “ a member of any federally or State recognized Indian Tribe, or an individual certified as an Indian artisan by an Indian Tribe” from other makers (this text is quoted from this Web-based description of IACA-1990 by the Indian Arts and Crafts Board, the author of IACA-1990). A recent amendment, the Indian Arts and Crafts Amendments Act of 2010 ( ), was signed into law by President Obama on July 29, 2010. One aspect of this responsibility does carry the force of law in the United States, as specified in The Indian Arts and Crafts Act of 1990 (the “IACA-1990” - see In my experience, it is valuable to be aware of who had crafted an instrument and, where possible, know and acknowledge the maker who crafted the instrument and at least some basic information about the history of the instrument. One responsibility that all who make and play the Native American flute have is to specifically honor and distinguish the makers of these instruments. On behalf of the United States, President Obama declared on Decemthat the U. Over such cultural heritage, traditional knowledge, and traditional Maintain, control, protect and develop their intellectual property Resources, seeds, medicines, knowledge of the properties of faunaĪnd flora, oral traditions, literatures, designs, sports and traditional Sciences, technologies and cultures, including human and genetic Indigenous peoples have the right to maintain, control, protectĪnd develop their cultural heritage, traditional knowledge and traditionalĬultural expressions, as well as the manifestations of their Declaration on the Rights of Indigenous PeoplesĪ contemporary movement to address and strengthen the rights of indigenous peoples has resulted in the United Nations Declaration on the Rights of Indigenous Peoples ( ). policy and how it relates to traditional knowledge, genetic resources, and folklore (“TKGRF”). See for an overview of indigenous rights movements in Africa and the Americas. Working with an instrument that carries a deep cultural history can raise issues of ethics, methodology in handling artifacts and publication of information, and a general responsibility to strive for a level of cultural sensitivity.
The traditions surrounding the instrument are honored at the same time as the boundaries are pushed forward. Players and makers of the Native American flute are always bridging a wide span of cultures, music, and roles for the instrument. And it channels the energy of the player away from technique and toward creating expressive, beautiful music regardless of their level of experience as musicians.
The music is rooted in an uncommon scale for Western music, but one that is home to much of World music, and one that encourages free expression. Makers do not strive to create instruments to a common standard, but each craft their personal style and sound into their creations. The Native American flute is deeply rooted in traditional cultures, yet blends beautifully with contemporary music. To experience the Native American flute is to know that the instrument is very different from other instruments that many of us have grown up with in the Western world.