Daughter of Dawn: Premiere, OKC, June 10, 2012

David Yeagley, Bad Eagle, May 9, 2012

Finally, my eighty-minute movie score will be premiered, here in Oklahoma City, June 10, 2012. This music was commissioned by the Oklahoma State Historical Society (Dr. Bob Blackburn, Executive Director), in December of 2007. The OSHS sought a symphonic score as a sound track to the 1920 silent film, “Daughter of Dawn,” by Norbert A. Myles. I, David Yeagley, was chosen. I am the first American Indian composer to be commissioned for a full-length movie score. The score was completed in June, 2008.

The film, with the music, will be presented to the public, for the first time, June 10, 2012 (Sunday) by the Dead Center Film Festival in Oklahoma City. There are two showings: 12:30 and 2:30, both at the Oklahoma City Museum of Art (415 Couch Drive) (SeeOKCMA schedule and tickets.)

The music was recorded by the Oklahoma City University Symphony Orchestra, conducted by Benjamin Nilles (with recording engineer John Cross), during the 2011-2012 academic year.

As the premiere approaches, there will be more and more publicity. The Oklahoma State Historical Society has major plans for the film and the music. After several different showings in Oklahoma, plans include showings at the major films festivals in the United States, like San Francisco, Sundance, Tribeka; and then festivals of the world, like Toronto, Cannes, and Milan. Fund raising has already begun.

The score features the American Indian flute as the musical personaof the main character, Daughter of Dawn. The flute part is performed by Timohty Archambault, Kichesipirini (The Kichesipirini are a Canadian Algonquian tribe, of the Ottawa River region around Morrison Island.) Archambault has performed and recorded my music before. He performed the Indian flute part for my Salve Regina (women’s chorus) at the National Museum of the American Indian, November 12, 2007. He has also make historical recordings for the Smithsonian. Archambault is an modern authority on all North American Indian flutes, their history, their use, and even the making of them. Archambault is able to perform all the chromatic scales on the flute, not just the traditional pentatonic (five note) scale. In the future he will have an album of my Suite Tragique(2007), a 45 minute collection of baroque dance forms for unaccompanied Indian flute.

The score to Daughter of Dawn includes full orchestra and percussion, with piano solos and harp as well. The piano part is the musical persona of Red Wing, the other important Indian girl in the story. I liken Red Wing to Puccini’s “Liù,” from the Persian operaTurandohkt (“Turan dokhtar”—daughter of the Turan), better known as Turandot (1926). It is the exquisite tragedy of a woman’s unrequited love. I chose the piano for Red Wing because of its natural sentimentality.

Like most of my music, Daughter of Dawn employs my new system of harmonic organization. It is, hopefully, a unique re-arrangement of the principles of tonality. The audience will hear familiar sounds, but not in familiar ways. The level of expectation should be in a perpetual titillation, as it were. There are rare moments in which my system will allow outright tonality. One such moment is reserved for the film’s ultimate romantic scene.

I have been developing this system since the early ‘90′s, when I was studying composition with Daniel Asia, master composer (and probably even more master teacher), at the University of Arizona. I have explored all compositional forms and procedures with my harmonic system, beginning with hard core baroque contrapuntal music. I am confident that the system works. I trust the audience will be pleased with the sounds of Daughter of Dawn. The score is actually quite romantic in style.

Daughter of Dawn is the first drama film to feature all American Indians. The story is a Myles combination of various Indian stories from the southwest. The film was made in the Wichita Mountains of southwest Oklahoma. Notably, there are Indians in the film who are old enough to have been alive during the free days. Some of these actors and actresses have relatives alive to this day. Sammy Tonekei (Ton’-kee-eye) White, a famous pow-wow MC (in his eighties) is the son of Em-koy-e-tie, one of the women in the movie.

More information about the film, its history, and everyone involved in it, and in the musical recording for it, will be released in due time. For now, I just wanted to announce the fact that it’s happening!

(One more note: the weekend just before this, June 3, the three of my works will be performed at the Chickasaw Chamber Music Festival in Ada, Oklahoma. More about that, later.)

 

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  • Formerly_Known_as_Whiteplight

    I know that David Yeagly is a supporter of white racial identity and realism, but will someone explain how or why his art work relates to the concerns of Amren? Is there a white hero in it or does it somehow support the white race’s history concerning Amerinds?

    “In the future he will have an album of my Suite Tragique(2007), a 45 minute collection of baroque dance forms for unaccompanied Indian flute.”

    I may be accused of being a purist, but I acknowledge this beforehand.  One of the problems of America is the sort of culture mixing that results in the sort of fare that Monte Python famously parodied in their film, “The Meaning of Life,” ….. “Enjoy authentic Hawaiian cuisine in an authentic medieval torture chamber!”  The American tourists in the skit are then offered trivia cards regarding the great Western philosophers.

    Ahem,… Baroque is a European art form, architectural, musical, linguisticly, etc. , as well as stylized European dancing.  Where an Indian flute fits into that without being a ridiculous clash of cultures, primitive against refined, or at all – escapes me.  I guess Baroque Indian dance sets are next?

    I have long known of the protests of Indian tribes when whites have tried to appropriate their identities or art forms.  Why is white culture and identity not as sacred?  I don’t see much difference from the way blacks use fancy sounding French names to elevate their self image through cultural (and eventually racial) usurpation.

    • eunometic

      Being pro-White doesn’t mean being anti-anyone else.  Many races admire Whites and are saddened by our passing. They know that they can trust us and be safe with us for instance.  We should accept their goodwill.  We should also give goodwill to other races, to the extent that it manifest in a prowhite not antiwhite form.  David supported Amren by suing those that shutdown the Amren conferance.

      • Formerly_Known_as_Whiteplight

         I don’t disagree with you.  I always say that I am in favor of everyone having their place in the sun.  I have never advocated for a world with no one but whites.  That wasn’t what I said or what I was complaining about.  But I would like to see your list of races who are mourning our “passing.”  (It’s a done thing, eh?)  It is very difficult for me to criticize David Yeager because I know about his support of whites. 

        What I was pointing out, and what I have been pointing out lately on other posts is the way that white identity is destroyed through assumption of identity.  This happens through sampling culture via its art, the assumption of European names (which is considered ID theft when it happens technically), and as we know, affecting European looks through wigs, makeup, even surgery, or chemicals (re: Michael Jackson).  It’s a real problem that whites need to be sensitive too (IMHO).

        We have to be disciplined and subtle enough to divide the gratitude for support from someone like David Yeager from the granting of a carte blanche in however they then might sample our culture, identity, etc., for their own version of the mixed up American cultural problem I described in my initial post.  Few Americans seem to recognize it.  Since I lived in Europe for while, I was able to experience specific European cultures which helped me to recognize this problem with Americans (maybe North Americans).  And the sad thing is that this tendency has spread to Europe via the Multiculturalism the EU has brought in.

        I knew I would like get many posts from supporters of David Yeager.  I accept this and will hopefully succeed in pointing out that like the way Israel is being loved to death by some “well meaning” American Christian groups, whites can also be destroyed by its non-white admirers.  It is not that we should not accept and be grateful for such people, just to be aware all the same.

        Other than that, I would again point out that Amerinds have never liked it when whites have tried to imitate Indians appropriate Indian identities or otherwise incurred into Indian life.  I think they were right to do this; it was a natural and proper position to take when the issue of protecting your people in every sense counts.  Whites have been in that position for a while.  It is hypocritical for Amerinds to claim this defensive position for themselves and deny to whites, especially if they support whites and are saddened that whites are being willowed out now.  And of course, whites as a whole still don’t recognize what is going on.  Whites like you who do are still muddled in their understanding of the meaning of what race realism and white survival entails.  It is going to require some discipline and work.  If we think our present understanding of the status quo is going to save us, we are in trouble.  This could be called racial complacency.  However, I have seen posts by Amerinds on other sites where they seem to be greatly pleased in seeing whites have their turn as the object of genocidal policies.  I can’t count the times I’ve read vengeance filled posts full of gleeful  joy at the prospect of the demise of the white race posted by individuals claiming to be Amerinds.

  • DelmarJackson

    Dr Yeagley supports the desire for less immigration to the USA, and is, from everything I have read by him, is a patriot to the cause of having a sane debate on our great national question of immigration which is simply-Who comes, How many come, and what shall be our immigration laws and how are they to be enforced.
     .I am happy to hear of his praiseworthy musical accomplishment and wish him great sucess. Break a leg Dr Yeagley.

  • SWPL2

    Dear Mr. Yeagley,

    I’ve never commented on this site before. 

    As a musician and an attorney, I just want to say CONGRATULATIONS.  I understand the dedication and hard work it takes to follow through with a project you love.  It’s no easy feat — you really have to want it.  Nice work.  And thanks again for all you’ve done for Amren on a legal basis.

    Wishing you continued success…

  • JackKrak

    Same here. I guess it had to be the invention of Hollywood people, since Indians apparently couldn’t build instruments apart from drums.

    • Formerly_Known_as_Whiteplight

       I like to find out things that I am not sure of, and I am not sure when the “Indian flute” came into being.  I know that they made whistles for ceremonies, but the flute thing seems more recent.  I also know that the Aztecs had flutes, but all I know of that is that they were used by the victim on their way up to have their hearts cut out by the priests.  Those were clay flutes, however. One was dropped on each step as the victim ascended.  I used to make flutes from willow branches when I was a kid.  I wouldn’t be surprised if  our Indians picked this up from whites and claim it as their own.

      Case in point;

      I happened to see a documentary last night on horses.  When they got to the Amerinds, the narrator introduced them saying, “But the best horsemen here didn’t wear Stetson’s (this after even showing whites in rodeos), but were the native peoples who mastered the art of horsemanship beyond the Europeans ability.”  (paraphrased)   The narrator then talked about how the horse arrived, minimizing the obvious fact that whites brought them, but then waxing poetic about how the Indians used them to ride, from one end of the continent to the other, using them for hunting, war, and even food.  One native woman explained that it was this horse culture that made the Indian culture so special and strong.  Then, a Sioux man explained the origin of the Indian horse culture.  He said that when the horse arrived they viewed at a gift from the Great Spirit. 

      See, whites were culturally excised, and replaced by a myth.  This happens a great deal these days and I have heard Amerinds and Mexicans doing the most when making their cultural and political points.

      In in single years, I had three Amerind girlfriends.  One of my oldest friends is a half Cherokee woman.  I have not animosity toward David Yeager personally.  I know he supports whites.  But I don’t think that he and many whites have considered how vulnerable whites are and how culture and these other inroads have functioned intentionally or not, to undermine the white world and even contribute heavily to our demise.

  • Texan1st

    Congratulations, Mr Yeagley. And thank you for your continued support of Amren. When anti-white loons successfully shut down an Amren conference, YOU were the one that stepped to the plate and made sure these anti-whites were held accountable. Your unwavering support for Amren should be commended.

  • Formerly_Known_as_Whiteplight

    It’s amazing how some posters are so often naive enough to make the sort of assumptions you have made of me here.

     I am a classical music fan from an early age.  Although not an expert, I know that Mozart made a famous opera called, “The Magic Flute.”  I also know that Mozart was part of a trend toward the more powerful expressions in his time.  Vinyl, huh, well it can’t be that new.  I’ve listened to my local classical music stations enough to have heard such things.

    I also know that the concert flute was developed from the simpler shepherds flute which is very similar to the Amerind type.  To claim that a classical flute is inferior to either is not only untrue, but in line with the sort of nonsensical propaganda that often accompanies people and cultures that wish to subvert European culture by claiming exotic values that can’t be quantified and are highly opinionated.  The fact is that the classical flute is capable of every note any wooden flute can produce and many more.  Some people like the sound that wood lends and we have famous musical ensembles like The Chieftains (Irish) that have often used the Irish wooden version (Matt Maloy, I believe).

    It may be a white thing to want to sample what we imagine to be exotic and non-white art (and everything else), but it is certainly not a necessity, nor is it a thing that we ought to feel is a big compliment.  I have been listening to harp music (especially the Celtic harp) for so many years that I can recognize the sound of ecstatically pure and culturally informative music.  I will admit that sometimes mixing styles is interesting, but beyond the occasional genius, it is usually a contribution to further cultural confusion.  There is a point where we need to recognize that this is not much different from miscegenation, tough as that might be.  Such experiments might be the sort of thing that must be dispensed with for the sake of preserving ourselves.

    I recognize the irony of the implications of cultural dissipation.  Perhaps long after the last redhead is gone, the last blondes are keep as chattel for the pleasure of others, a Chinese cellist, perhaps the great, great granddaughter of Yo-Yo Ma, might wonder with others about a people who once filled the world with astonishing technology, art and music.  And even more than they do today, finding whiteness exotic and desirable will be a cultural norm and the myths of whites will be likened to the Atlantians that the West has long mythologized.

    • Robert Binion

      If a piano salesman knows the age of a client, he can play tunes that were popular when the prospective buyer hit puberty.  It’s an old marketing trick that works and why I answered your interesting post.  On the musical battlefield, we do sacrifice now our young without a fight.  I am with you, but we can not expect music or language to remain static and without change.  Think of flutes as mere sinless tools created for particular, though different applications.  (Besides, that a melody was written by an Amerind, the flute itself may be unaware.)

      The desire to classify as good or bad, better or worse, kills delight.  It is antithetical, Biblical aridity.  Is that what we want?  Or would we prefer mystical, Neanderthal metaphor, the magical transformation of one to another? 

  • Formerly_Known_as_Whiteplight

     I have noticed this for decades.  When I became familiar with Celtic styles, I realized that much of the old soundtracts for films, (but the 1990 Last of the Mohicans did it too), was usually a variation on Celtic music styles.  This is likely because so many Irish were present in the late Western Epoch and also so many settled in Oklahoma after 1890.  Also, some Spanish influences are there. Whites made songs about Indians, like Red Wing, or Shenandoah.  If you have ever seen a documentary or gone to a show from an Indian reservation, or even as I have made a small collection of Amerind native ritual music, you would find that Amerind music is very limited, non-melodic (except for the flute).  The singing exemplifies this, I have never heard a variation of the “hey yah, hey yah, hey yah, except in the rhythm of the shouts and things like how long the words or notes are sustained.

    And you are right, musical like visual stereotypes are part of how a culture and people are attacked and discredited, leading to justifications for disrespect and finally, elimination.  It’s happened over and over in history and it is happening to whites now.

  • I too am a musician.  Thank you Doctor Yeagley!

    As musicians and artists tend to be on the vanguard of dissident political movements, I wonder if their are more of us than we know here?

    I find that to be a solid, foundational artist, your views on reality need to make sense.
    Thus, all great artists are “race realists”, that is they understand and respect human diversity.

    I will be checking out your music.  Do you have more audio samples?
    http://www.davidyeagley.com/?p=23

    This is good: Violin Rhapsody: http://www.youtube.com/watch?v=FZGUHldBfz8&feature=plcp

  • Breathtaking piano work!

    http://youtu.be/mxv9gmbLSHI

    Excellent!  Your exploration of new systems of tones are great.

  • Breathtaking piano work by Doctor Yeagley!

    http://youtu.be/mxv9gmbLSHI

  • Formerly_Known_as_Whiteplight

    Good points and I want to agree.  But it is possible to be loved to death.  I have read many posts else where by young blacks saying how much they love white women, mean them no harm ,etc., they just want one for themselves, is that so wrong?

    Has the obligatory film on the fictional black ballet star been made yet?  Did I miss it, or do we have that to look forward to?