 This is a circle dance. This is one of our oldest dances we have here in Aveli. These dances are, they say they were given to us by the creator. We call Inat, our father. It's called our father's dance. This dance is given to us back in a time when Uwoko was having his dream about helping the people. And this was one of the dances that was given to him by the creator to help our people. And we still use it today. We use it to pray when we pray. Let's give them a good round of applause, ladies and gentlemen. It was a sacred place where people came to learn. It was more or less like a school, a place for teaching, and a place to ensure being connected to the Earth and to everything that we hold sacred. Some people do just come here, put their names on there, say, I've been here. And doing things like this is not ethical for a person who kind of understands what's going on here, what has been here, what's been preformed here. But the power is still within that area. They cannot take that away. Look beyond the Pythagoras, and there is the honor or the spiritual essence of it. Grasp a little of that. Understand why they did this. Grasp dancers, name's Grasp. All of you are name's Grasp, ladies and gentlemen. We have our name's Crystal Dancer. Cornered and further straight. Make it short, ladies and gentlemen. Cornered and further straight. We have our name's West Dancer. All of you are name's Grasp, ladies and gentlemen. Go down to our women's category with our women's special dancers. Cornered and further straight. Followed by our women's team. All of you are name's Grasp, ladies and gentlemen. Go down to our team category with our women's special dancers. This particular regalia I made all myself. I made all of the beadwork, the moccasins with the leggings. And I made this, I actually was inspired when I turned 40 years old that I wanted a change, something to represent changing. Within the loom or the beadwork that's here, you see the flower is in the middle. And then from there it has geometric designs. And that is a traditional pie design. And so with my other beadwork I incorporated the other rose designs such as with my hair ties. And then also you'll see roses on my leggings. It to me represented blooming or blossoming into full life. You'll see that there's many designs incorporated. So I have like a sunburst design which also represents the coming of a new day. This purse was made to also represent my Indian name. And my Indian name is Many Relatives Woman. Those represent all of the relatives all around in the circle. In the center is the stone mother who represents our creation and story going back to how we're supposed to treat our relatives. And we're not supposed to fight with one another. We should be treating each other good and behaving. And then as the design comes further out from the circle it comes back into the sunburst design and then feathers all along the four corners there. And on my fan it has the pyramid in the middle and then basically the same starburst design with feathers in the four corners. So abalone shells are important. We used to trade for abalone a long time ago. And with the abalone they say it's like a mirror, like a reflection. So if there's anything such as bad intentions or anything negative then as a mirror it bounces back to wherever the source came from. My great uncle he taught me how to do these and how to make sure the beads laid flat because there's certain ways that you set the beads and then certain times when you add to it it gets an art that we need to keep alive. It's constant prayer and thanksgiving and thinking about the people and whoever the people might be whether it's our close relatives whether it's people across the country we all have hardship and we all need prayers and our earth needs prayers too. So that's what a lot of the designs here represent. My mother was from here. My father was from Shers. So I'm a full-blooded Paiute Indian. And I got into dancing because my mother always danced. She was one of the original dancers from here in Permit Lake. And in them days they didn't have powwows. They had pageants, you know, and I would go to the pageants and watch them dance. All my elders, you know, when they never wore beads, didn't carry feathers, you know, things like that it was just plain because when these are dresses that the elders wore when they were working, cooking, you know, whatever they were doing. This is the old-style Paiute dress. It's made of cotton, floral print, the rickrack or ribbon they had. They used a lot. So what we do is we try to carry on and teach our young kids the art, the way the styles were. You know, you don't see too many of these dresses. Even in the powwow, you know, when you go powwow, you don't see too many of them unless they have some kind of a special or, you know, something like that. Especially on hot days, we don't like to wear our buckskin. We got to have the cool cotton dresses. I wear two feathers because I'm married. Usually those single women wear one feather. On my fan, I have an emblem of the American flag that is because of my husband who is in the service and that I carry in honor of him. And when you go on the circuit or what we say circuit, we go different powwows, you can get out there on an inner tribal and you never see anything that is different color, different shapes, different, everything is different. No two things are alike in the circle. They made this dress and she has been, she left this into the happy hunting grounds about 20 years ago. And this was made about maybe 15, 20 years before that. Everything is hand beaded. Everything is hand sewn. And the beadwork on the dress up here where the fringes are hanging, that is our family emblem that we have. This is smoked buckskin, that's why it's tan. But if it was just plain buckskin, it would be white. Most of the people up in the north, they have the white buckskin and the fringes on these are short. You know, we wear our fringes short here in Pyramid Lake. You see smoked buckskin dress, they're usually Pyramids or mostly Pyramid Lake Pyramids. The two feathers I have on top are representing, one goes to my family and one for the creator. For when we pray, we pray for our family, we pray for our creator. The hairpiece on top is porcupine hair, the roach. This is a roach, it's porcupine hair. The flicker feathers I wear here, these are for the buyer. That shows I've tended that, sacred fire, ceremonial fire. The fluff on this side, that represents the clouds. When we look up at the clouds, we see these fluff. And a lot of times we revere the eagle because the eagle is the one that flies the highest and he's the closest to the creator. So we revere the eagle and where the eagle feathers gives us strength. He uses it to keep time with the drum and the deer is a very strongly animal. It gives us strength to our legs. Also the angora that we have on the back. We also wear angora, because the angora sheep is a very strong-legged animal also. So we use that to keep strength in our legs. My leggings, we use these wintertime to keep our legs warm. They're made out of the deer hide. And with my front breech, it's deer hide. A long time ago, we used to use a shiny rock called Tavishi. Representing the reflection back that people have when they see you. They reflect back that good feeling that they have when they watch you dance. I carry a small medicine bag. This carries my medicine, whatever that. I think I might be needing in a certain time I'll have in here. And the white medicine wheels represent the eb and the red medicine wheel that I have on my sleeve here on this side. This represents the shepherd. This is a red paint. The breastplate I wear has a basket design in the center here. The basket design represents both sides of my family. Basket makers on both sides of my family. I carry an eagle fan. This is like our shield. This is what shields us from different things that might harm us. This is part of our shield. And the white horse hair that I have on here, this represents the white horse that flew over the valley during the ghost dance, during the late 1800s. And that represents that white horse. It was part of Ovoca's medicine. And the white rabbit fur, that represents the old style dancers based to wear white rabbit skirts. And my staff is beaded with a basket design. And the bald eagle feathers, they too represent that white horse that flew over the valley. These two feathers here, these were given to me by the man at, did the coming out for me. He gave me these two feathers when he did my coming out at the Spirit of Ovoca Day's Palau in 2009. So these are given to me by Mr. Sam Johnson. The staff is with me for life. It's a partner in life. We braid our hair and wrap it. This is a Northern style braid that we have in our hair. A lot of these things are incorporated from the Northern people. The Cheyenne people, Arapaho people. The Northern tribes, like the Crooked Lands that's incorporated from the Lakota people. A lot of times when we go to different areas, we're given certain rights to carry certain things for that tribe. And a lot of times when we're given that right, we're to use it respectfully and we always ask permission in order to carry things like this through our prayers. We say our prayers, they go through our feathers and they go up to the crater. That's how we pray for our people. There's numerous places where they cooked. If you choose to go to a site like this, be respectful of it. Be respectful of the area, the environment and everything. Even the animals and the birds, they all play a part in this. It gives you a peaceful perspective that you came here and respected the place.