The World is Running Out of Water

The world is "running out of water," Makasa Looking Horse says, and if we don't take action soon, it will be too late. Looking Horse, from Six Nations of the Grand River in Ontario, is one of the hosts of the Ohneganos Ohnegahdę:gyo -- Let's Talk about Water podcast, which won a 2021 David Suzuki Foundation Future Ground Prize. The prize recognizes youth-led movements. It's a podcast created, the Suzuki Foundation says, to "engage Indigenous communities and disseminate research findings by facilitating meaningful discussion about water issues and climate change."
 

Looking Horse points to Aberfoyle, Ontario, where BlueTriton Brands, Inc., an American beverage company based in Connecticut, has permits to take 3.6 million litres of water a day out of an aquifer there. BlueTriton is the new name of the giant corporation better known as Nestlé Waters North America. The name was changed to BlueTriton Brands in 2021.
 

She says "they're making millions off our water and selling it. And the thing about aquifer waters that it takes 6,000 to 10,000 years for that water to filter through the ground. We'll never see that water within our lifetime again and that's why it's so important that we stop water extraction."
 

BlueTriton says, in a report from November 2021, that it has conducted "extensive testing and studies over the years to ensure that their operations do not diminish the availability of water for other users or the environment." The company says "permit conditions require BlueTriton to monitor the natural and pumping-related variations in groundwater and surface water levels." The permit was renewed by the Ontario government in 2021 and runs until November 2026.
 

Looking Horse's commitment to protecting water was passed down from her parents. Her mother is Dawn Martin-Hill, one of the founders of the Indigenous studies program at McMaster University and the winner of the University of Oklahoma's International Water Prize, for her commitment to improving water security for the people of the Six Nations of the Grand River. 

 

Her father is Chief Arvol Looking Horse, 19th Keeper of the Sacred White Buffalo Calf Pipe. He was given the responsibility at age 12, the youngest keeper in history. Looking Horse  says her path into activism and water sovereignty didn't happen overnight. It was a long and encompassing journey full of passion for earth, prayer for water and everything on earth.
 

Similar to Looking Horse, the United Nations (UN) also has concerns about how much water humans can access. According to a UN report, by 2025 1.8 billion people will be living in countries or regions with absolute water scarcity, and two thirds of the world's population could be living under "water stressed conditions."
 

In June of 2019, Looking Horse hand delivered a cease and desist letter from the Haudenosaunee Confederacy Chiefs Council to Nestlé Waters in Aberfoyle. In 2021, the council sent another letter to BlueTriton, after the company changed its name, saying "the majority of our people at Six Nations do not have access to clean drinking water... we declare your activities to remove [aquifer] waters under our territories unpermitted and demand that you cease your activity immediately."
 

The fight for water sovereignty and for clean drinking water continues for Looking Horse. "The urgency worldwide is huge because the world is running out of water. This is only one example of exploitative extraction by a big corporation. This doesn't include all of the pollution and micro plastics that are living in waterways and systems across the globe," she said.
 

"I've been praying for water and working with water for a very long time, and that's where it started," she said. "You start to learn how valuable water is on a spiritual level, but also on a statistic level. The world is really in a water crisis. So, it's in our culture to protect the water and have a responsibility."

Traditional Water Drums

Water drums are a category of membranophone characterized by the filling of the drum chamber with some water to create a unique resonant sound. The presence of the water within gives the sound far greater carrying power than a dry drum possesses. At close range, the tone of the water drum is often a dull thud, but when properly tuned by an experienced drummer it has a resonance that can be heard for miles. No drum can be heard so far; it is on record that water drums have been heard eight to ten miles over a lake. This capacity to be heard distinctly at a distance, coupled with a peculiar tone quality, gives the water drum a very unique voice.

Water drums are used all over the world, including African music and American Indian music, and are made of various materials, with a membrane stretched over a hard body such as a metal, clay or wood. The Native American Church uses a black iron kettle with three tripod legs. The leather drum head is soaked in water before being stretched over the kettle. Clay pot drums were common among many eastern and southern tribes in the ancient days, those of the South using a semicircular-shaped bowl with legs. The pottery water drum of the Pueblo Indians is a vase-shaped pot with a flared out top. Pueblo water drums vary in size from small pots holding a gallon of water up to huge ones measuring thirty or more inches in diameter. These are filled about one-fourth full of water and the wet hide is tied over the top. When not in use the tanned drumhead and rawhide thong for tying it are kept inside the pot.  

Wooden water drums are the traditional percussion instrument for the Native American Anishinaabe (Ojibwe), Ottawa, Potawatomi, Huron and Iroquois peoples. The Eastern Woodland tribes made far greater use of water drums than any other Native peoples, and attached a greater significance to them. To the Anishinaabe and their many neighboring tribes, the water drum is a true medicine drum of great power, the sacred drum of the Midewiwin or Grand Medicine Society, which is at the core of Anishinaabe religion. Water is synonymous with life, hence it adds great potency to the water drum. Its sacred sound is regarded as one of the most effective ways of establishing connections with the spirit realm, since it travels through space, permeates visual and physical barriers, and conveys information from the unseen world. It is widely used today in traditional Longhouse social dances and ceremonies.

Wooden water drums are made either by hollowing out a solid section of a small soft wood log, or assembled using cedar slats and banded much like an old keg. The drum is filled about one-fourth full of water and a wet leather hide is stretched over the top. For detailed instructions on crafting, tuning and playing water drums, download the free eBook, How to Make Drums, Tomtoms, and Rattles by Bernard S. Mason. This classic 1938 edition is now a free public domain eBook.

The Drum Makers of Cochiti Pueblo

Brothers Carlos and Tomas Herrera, along with their father, Theodore "Arnold" Herrera, of Cochiti Pueblo, produce some of the most sought-after drums in the Native American craft world today. Drummers from all 19 of New Mexico's Pueblo communities come to Cochiti to purchase these drums, which are still made according to ancient practices. Over the years, the Herreras' craft has taken them from Guadalajara, Mexico, to Washington, D.C., for the Smithsonian Institution's Folklife Festival.
 

While Carlos, an environmental scientist, does drum-making in his free time, Tomas recently left the home construction business to focus full-time on making drums. To find the materials for the perfect drum, the brothers wander riverbanks looking for cottonwood boughs and trek into the mountains to collect recently dead aspen logs. Being a relatively soft wood, aspen is not only easier to hollow out, compared with other woods, it also emits a soft reverberation. Cottonwood, having similarly desirous properties, is often used for the large drums that the Herreras make for Plains Indian powwow groups.
 

While a drum has only a few parts, the process of making one is not simple. The multiple steps include aging the logs, cutting them to length, and removing the interior wood, a process for which the Herreras use homemade chisels culled from heavy metal scraps. Then, after preparing rawhide for the drum's head, a lengthy process in itself, the Herreras stretch the rawhide, secure it to the drum with sinew, and do whatever trimming is needed. These steps alone can take up to 16 hours, and that's before they've gotten to painting the drum, or making the drumsticks.
 

While plenty of other Native Americans make drums, Carlos says that their use of ancient, traditional methods for turning an animal hide into a drum head "is something that sets us apart." Today, he says, most drum makers use harsh chemicals, which dry out the hides and make them brittle. The method the Herreras' practice allows their hides to retain some of their original fat and oils, which Carlos says keeps them supple for decades.
 

To accomplish this feat, the Herreras bury their hides, which are sometimes made from elk skins but usually from cowhide, in damp earth for a week or two. They then remove the hair, using old metal files, and degrease the inside, which will still be covered with a lot of fat. To finish the hide, they never use salts, preservatives, or any other special treatment; by the time the hide is fully dry, it has been transformed into odor-free, resonant rawhide.
 

This whole process was passed onto the Herreras from their father, and their grandfather before him. "Even with the knowledge base we have, we struggle at times in getting the hides just right," Carlos says. "There's a lot we don't have control over. Every hide is different, and this is one of the biggest challenges we face. The drying process of the rawhide is out of our control. We can do everything right -- log selection, the carving, the hide preparation, and stretching it with the proper tension. Then maybe the humidity changes or the air pressure, and it loses its tone. At that point, the only option is to remove the leather and begin again with a new hide. We always have to wait until a drum is perfectly dry to find out if it works."
 

"To try to ensure success, we always reach out to my grandpa's spirit and ask him for his help," Carlos says. "We say a little prayer to the spirits to help guide us."
 

To learn more about Cochiti artisans, read "Storytellers and Drums," an excerpt from my memoir Riding Spirit Horse.