Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute. In order to identify factors contributing to the resurgence of the flute’s popularity, this study attempts to determine whether flutists believe that they are continuing the flute’s traditions or creating a new musical style derived from past Native American flute practices.
This paper also discusses broader trends in Native American music such as the flute circle phenomenon, Pan-Indianism, and integration with New Age music, World music, and other genres.