From 1996 to 2017, PAULA CONLON taught Native American and world music at the University of Oklahoma’s School of Music. For two decades, she attended and participated at Indigenous music and dance events across former Indian Territory, and she has incorporated these first-hand experiences into her teaching, writing, and research presentations. Dr. Conlon is currently an emeritus professor working out of her hometown, Ottawa, Canada. Email:


Conlon, P. J. (2021). African Sensibility and the Muscogee (Creek) Stomp Dance Tradition. In R. Farinas and J. Van Camp (Eds.), The Bloomsbury Handbook of Dance and Philosophy (pp. 294-308). London: Bloomsbury Academic.

Conlon, P. J. (2017). The Native American Flute Tradition in the Southern Plains, Focusing on the Kiowa and Comanche Tribes. In M. Stöckli and M. Howell (Eds.), Flower World: Music Archaeology of the Americas 5, 103-121. Berlin: Ekho Verlag.

Conlon, P. (2016). From Powwow to Stomp Dance: Parallel Dance Traditions in Oklahoma. In A. Shay and B. Sellers-Young (Eds.), Oxford Handbook of Dance and Ethnicity. New York: Oxford University Press. Retrieved from

Conlon, P. J. (2015).  Nevaquaya, Joyce Lee. Grove Music Online. Retrieved from

Conlon, P. J. (2015). Powwow Times Three: Intertribal Powwow Music from Three Perspectives. Great Plains Quarterly 35(1), 103-111. University of Nebraska Press. Retrieved from

Conlon, P. (2014). Courtship Rituals and the Native American Flute. In F. Kouwenhoven & J. Kippen (Eds.), Music, Dance and the Art of Seduction (pp. 103-114). University of Chicago Press.

Conlon, P. (2014). Bending or breaking the Native American flute tradition? In C. Bithell & J. Hill (Eds.), Oxford Handbook of Music Revival. New York: Oxford University Press. Retrieved from

Conlon, Paula. (2013). Muscogee (Creek Nation) Stomp Dance. In E. Keillor, T. Archambault, & J. M. H. Kelly, Encyclopedia of Native American Music of North America. Santa Barbara, CA: Greenwood.

Conlon, P. & McKenzie-Jones, P. (2013). Red Power: American Indian Activism through Powwow Music and Dance. In E. Rojas & L. Michie (Eds.), Sounds of Resistance: The Role of Music in Multicultural Activism, Vol. 1: Activism in the United States (pp. 21-46). Santa Barbara, CA: ABC/CLIO.

Conlon, P. (2012). The Native American Flute: Convergence and Collaboration as Exemplified by R. Carlos Nakai. In M. P. Baumann (Ed.), – the world of music – Readings in Ethnomusicology (pp. 118-133). Berlin: VWB – Verlag für Wissenschaft und Bildung.

Conlon, P. J. (2012). American Indian Dance Theatre. Grove Music Online. Retrieved from

Conlon, P. (2009). Dance, American Indian. Encyclopedia of Oklahoma History and Culture.

Conlon, P. (2009). Iglulik Inuit Drum-Dance Songs. In T. Browner (Ed.), Music of the First Nations: Tradition and Innovation in Native North America (pp. 7-20). Urbana: University of Illinois Press.

Conlon, P. (2009). Nevaquaya, Joyce Lee. Encyclopedia of Oklahoma History and Culture.

Conlon, P. (2007). Comanche Flute Music Played by Doc Tate Nevaquaya, Smithsonian Folkways Recordings SFW CD 50403. Journal of American Folklore 120(475), 77-79.  

Conlon, P. (2007). Diaspora in Indian Territory: Stomp Dancing in Oklahoma. In A. Hoefnagels & G. E. Smith (Eds.), Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present (pp. 212-220). Newcastle: Cambridge Scholars Publishing.

Conlon, P. (2007). Doc Tate Nevaquaya – Master Comanche Flute Player. Flute Focus 12, 4-5.

Conlon, P. (2006). The Pros and Cons of Teaching World Music as a General Education Course. College Music Society Symposium, 10. Retrieved from

Conlon, P. (2004). Buffy Sainte-Marie. In D. J. Wishart (Ed.), Encyclopedia of the Great Plains. University of Nebraska: Lincoln Press.

Barry, N. H., & Conlon, P. (2003). Powwow in the Classroom.  Music Educators Journal 90(2), 21-26.