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Leo Gets Mauled By a Bear; My Readers Get Mauled By a Spoiler.

14 Thursday Jan 2016

Posted by danielwalldammit in Movies, Native American Themes

≈ 8 Comments

Tags

American Indians, Film, Hugh Glass, Leonardo DiCaprio, Movie Reviews, Movies, Native Americans, The Frontier, The Revenant

220px-The_Revenant_2015_film_posterThe Revenant was cool. In fact it was damned cool!

By ‘damned cool’ I might mean ‘damned hard to watch,’ but then again damned hard to watch can be damned cool. Tastes vary, of course, but watching a CGI brown bear maul Leonardo DiCaprio was well worth the price of admission.

No, I don’t hate DiCaprio. Quite the contrary. It takes some skill to sell that kind of suffering, and he does it damned well.

This is the story of Hugh Glass, a mountain man most famous for surviving an attack by a bear, and (more impressive still) for surviving his subsequent predicament. Left for dead, the man somehow made it roughly 200 miles to safety (mostly by crawling, as I understand it). The real story of Glass is impressive enough as it is, which is one reason writers and movie-makers keep coming back to it. The Revenant weaves its own narratives around the tale of Glass and his trials.

This movie is every bit as bleak and terrible as you might have thought. Images of human suffering abound, and of course the central story here is one about perseverance in the face of tremendous adversity. By perseverance I of course mean suffering. I might even have to write ‘suffering’ in this review a few more times, just to make sure you get the point. There is a lot of suffering in this film. But what does all the suffering add up to?

Therein lies the nitpickery point!

It’s a vision of the frontier as a place filled with violence and pain. That frontier has very little in the way of love, stability, family, or community. The things that connect human beings to one another in meaningful ways have been all but removed from the world of this story. When such connections do appear in this film, they appear to be fragmenting …painfully. Glass, for example, has already lost his Indian wife as the story begins. He will lose his son midway through the story, and he will end the film quite alone.

It isn’t the bear that sets off all this tragedy. It is the leader of an Arikara party who keeps attacking Glass and his companions. This character, we learn, is actually seeking his own daughter, whom he believes to have been captured by Glass’ party. Glass’ doomed wife and son as well as the daughter of the Arikara leader are the only bonds of kinship that I recall from the film, and each is unraveling even as the film begins. We are left with a world in which love itself comes into focus only through the medium of pain.

It’s worth considering for a moment that this kind of world cannot exist over the long duration. There are no births in this world, nor are there the means of nurturing future generations. These are men operating on the fringes of their own communities and/or in the wilderness emerging between them. It comes close to a Hobbesian time of war, or perhaps more appropriately to Frederick Jackson Turner’s frontier as the meeting place between savagery and civilization. Even the Native Americans in this film seem unable to keep a family together. This is the myth of the west taken to 11. It’s a world that must pass, either to complete destruction or eventually into some semblance of social order. It is the latter of course to which this sort of frontier narrative points us, as the frontier anticipates the coming of civilization. For now, we are left to contemplate a world in which few (if any) are born and a good many die every third or fourth scene.

I can’t help but think many will imagine this is the world frontiersman found when they entered the American wilderness, though I’m more inclined to think of it as a world they made by that very entry.

If there is a truly objectionable feature to this narrative theme, it would be the role played by friendly Natives. Some readers may be familiar with the phrase ‘magic negro’, which is usually taken to refer to a stock character used in all-to-many Hollywood films. The magic negro is usually gifted with some mystical power, often a sort of impossible wisdom which he will use to aid the white protagonist in a given story. Just as often, the magic negro will die before the end of the narrative, leaving the great white protagonist to resolve matters using whatever gifts his friend left behind. Suffice to say the magic negro needn’t really be a negro, though it does seem rather commonly to be a minority of some kind. In The Revenant, Glass enjoys the help of not one, not two, but three magic minorities, all Native Americans.

The First (and oddly enough also the last) of these supernatural mentors would be Glass’ wife. Having been slain in a prior event, she continually returns in the form of visions which inspire Glass to continue. Whether these are meant to be real or simply features of his own imagination isn’t really very important. The bottom line is that she is long gone, but she continues to serve as an inspiration to him. She appears at the very end of the film as well, seeming to say goodbye.

The second of these characters would be Glass’ son who remains loyal to him even as his injuries appear to leave Glass without hope of recovery. This loyalty will cost Glass’ son his life, but that in turn will provide Glass with the motivation to survive, to avenge the death of his son.

The third of these magic Indians appears in the form of Pawnee who shares food with Glass, travels with him, and cures him when Glass is overcome with infections. Glass will awaken to find himself well on the road to recovery even as he discovers his Pawnee friend hanging from a tree, leaving him to face yet another terrible challenge quite alone.

Time and again, Glass benefits from Native characters even as they themselves pass away. The death of the magic minority is that much more fitting here insofar as it perpetuates the narratives of western conquest. Native characters may hamper the frontiersman as does the Arikara leader, or they may aid him, as do each of the magic Indians in this film, but it is simply no coincidence that the white protagonist finishes the story on his own.

Does this work? Yes. It’s a Hell of story, and I plan to watch it again. And perhaps it works partly because of the very tropes that have me griping about the story right now. Some may find them extraordinarily compelling even as I find them terribly disappointing. I can’t help but think more interesting stories await the film-maker who learns to take Native characters a bit more seriously.

 

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Recollections of WIPCE 2014

07 Thursday May 2015

Posted by danielwalldammit in Bad Photography, Native American Themes, Street Art

≈ 4 Comments

Tags

American Indians, Art, Conferences, Hawaii, Indigenous Issues, Street Art, Time, WIPCE, World Indigenous Peoples Conference on Education

IMG_1010closeupIt was almost a year ago that I attended the World Indigenous Peoples Conference on Education, held on the campus of Kapiʻolani Community College in Oahu.

This was a beautiful but rather surreal experience for a number of reasons. First and most obvious, the muggy heat of Oahu was a bit much for me after a winter in the arctic. …not so much that I wouldn’t want to go again, but, yes there was a day or two that had me longing for the air conditioning of my room. Second, I haven’t attended many academic conferences for some time. So, it felt odd to be back in that mix and listening to the sort of papers I remember from days long past and ambitions long since set aside. As usual, the panels were a fair mix of dull to amazing with plenty of kinda-both happening as well, which is exactly as I would expect it to be.

I remember sitting in one of the conference panels and thinking something about the whole conference really bothered me. At first, I couldn’t quite put my finger on it, but then I realized how much of a hassle it had been moving from one panel to the next. Everyone had been rushing around pretty quickly. They were not quite pushy, but folks had definitely been moving with a purpose, …almost a vengeance. It wasn’t just that this was unpleasant, which would make it a lot like a lot of other conferences. What bothered me was just how uncharacteristic it felt, given the participants. What had bothered me, I realized, was that I wasn’t really accustomed to seeing indigenous people proceeding with such reckless abandon through a schedule. That’s when it donned on me that we were not on Indian time. We weren’t even close. The panels for this conference had been scheduled so tight, you had to leave early or arrive late to a panel in most cases. Being good scholars, people were getting the job done, but the end result was an indigenous gathering with a sense of time better suited to caricatures of German culture than Native anything. This is what had seemed incongruous to me, and I couldn’t help but chuckle when I realized it.

Hell, in Barrow, we don’t even think of it as a native thing, because the rest of us are the same way. What sociolinguists call “Indian time”, we would call “Barrow Time” up here. If an event begins at 8, that’s means 9ish, and even then, don’t be surprised if things actually start around 10. But Barrow Time isn’t just a sense that start times are iffy; it’s also a sense that the people present count more than the clocks. Events proceed when a certain critical mass of people have arrived, said their greetings and settled in comfortably.

…and that’s when we’re in a hurry.

The bottom line is that this conference did NOT have the usual leisurely pace that I’ve grown to expect from indigenous communities. I suppose this could have been a reflection of the limited samples I’ve experienced in my own lifetime. I still think it far more likely that the difference in behavior could be attributed the conference schedule. Left to their own devices, I can’t help thinking some of these folks would have proceeded much more slowly, a lot more deliberately, and in the process gotten to know each other a bit better.

It was outside on the campus of the college where the tone of the conference seemed most fitting, what with people milling around, chatting, and taking in the entertainment. This is where each of the communities present really represented themselves best. At one point, there was a mini-powwow out on the grass, and of course the Maori kept storming the stage to perform a haka. A Sami lady sang a lovely song in the opening ceremonies, but I’m a right bastard for leaving my camera in its case at that particular moment. Ainu held a wonderful round dance toward the end of the conference, and you can almost tell how great it was from the film. …almost.

At some point I snuck downtown to capture some of the street art. A trip to  Punahou School and a visit with a friend out on the coast rounded out he trip nicely. Anyway, here are some photos and videos.

Unfortunately, I only captured a small portion of the performances. A lot of coolness just didn’t quite make it through my lens. I thought I’d share what I can here now, because some of it really was kind of fun.

(You may click to embiggen)

Let’s start with a few general pictures.

random Bird
Unfortunate Eel (Lucky Fisherman Not Pictured)
Sunset II

Sunset

A Small Selection of Performers.

A Sami Guy taking a picture
Hawaiian Dancers III
Hawaiian Dancers

I can’t remember the island these guys are from. Their dance was really cool.
Unidentified Dancer
Ainu

Hawaiian Dancers II
Hawaiian Dancer IV
Australian Youth Group

Street Art!

Mural
Mural II
Close-Up

Close-Up II
Mural III
Mural IV

Mural V
Mural VI
Cloe-Up III

Close-Up V
Mural VII
Mural VIII

Mural IX
Mural X
Mural XI

Mural XII
Mural XIII
Close-Up VI

Close-Up VII

Maori Haka

A Youth group from Australia. (As I recall this dance had to do with the introduction of European honey-bees into Australia. …the most salient difference between them and the local variety being the presence of a barbed stinger.)

Hula Dancers.

Let’s finish it off with that round dance I mentioned earlier.

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So, Adam Sandler, Yeah…

27 Monday Apr 2015

Posted by danielwalldammit in Movies, Native American Themes

≈ 15 Comments

Tags

Adam sandler, American Indians, Film, Humor, Indians, Movies, Racism, Satire, Westerns

adam-sandlerBy now the story is pretty well known. A number of Native Americans recently walked off the set of an Adam Sandler movie (The Ridiculous Six) citing offensive jokes as the deal-breaker triggering their decision to leave. Most had been cast as extras, but the group also includes a cultural consultant hired for the film. Other sources have detailed the story better than I could, but let’s just get a few of their objections on the table so we all know what we’re talking about:

– The Indians in the movie are supposed to be Apache, but their outfits and material culture generally represented in the film would seem better suited to Comanche (and that not too accurately there either).

– The movie used offensive names for female characters. “No Bra” and “Beaver Breath” come to mind. “Sits-On-Face” was apparently in the script at one point.

– Come to think of it, the movie gives men offensive names too, “Five hairy Moles,” and “One Eyebrow,” for example.

– In the movie a woman is supposed to squat to pee at some point while smoking a peace pipe.

– The extras found a feather arrangement on a teepee inappropriate.

– In the movie, Adam Sandler is supposed to utter the line; “Say honey: how bout after this, we go someplace and I put my pee-pee in your teepee?”

…you get the idea.

I certainly hope that I don’t have to explain why any of this would be offensive. The question is of course what to make of that offense? Someone is almost always the butt of a joke, and so it sometimes seems arbitrary when a particular set of jokes like this one draws a vehement response. Those with little or no connection to the offended group are often that much more mystified, because they simply don’t understand all the implications, and it can be damned tempting to pass the whole thing off as political correctness.

The notion that these extras (and those who support them) are just being too damned sensitive about the whole thing is rolling rather predictably out in various tweets and blog posts. A spokesman for netflicks reportedly characterized the film as ‘broad satire’. Breitbart News carried that theme even further, denying that satire could be disrespect in any context and congratulating the film crew for standing their ground in the face of an overly sensitive group of extras. Sandler’s camp appears to have adopted the stance that his movie is meant to be all in good fun, and that it’s full of low-brow humor to begin with. One of the cast, Vanilla Ice, for example assured us that Sandler is not trying to make something on par with Dances With Wolves. So, it seems we in the public are supposed to give Sandler a pass, because he is just joking.

I’m usually pretty open to raunchy humor, but I find it very hard to imagine a context in which the jokes mentioned above would be anything other than toilet humor fit for a five year old.

…and let’s be clear. there is another context to consider here. For those of us who haven’t seen the film, it’s difficult to assess the context behind the jokes, but for those of us who haven’t lived lives as Native Americans, it’s hard to say what the overall context of life is for determining how these jokes must feel.

Context is a two-way street.

No, actually, it’s more like a giant roundabout with a lot of busy traffic.

The question here is just what makes these jokes funny to begin with (at least for those that find them funny)?  It’s easy enough to say that a name like “Beaver Breath” is just a joke, but is there really any reason to suppose that joke doesn’t turn on a point of prejudice? These names don’t appear to be an in-joke, and they don’t turn any non-native prejudice on its head. They reflect little other than the sensibility of a child snickering at someone different. These jokes turn that difference into an object of brutal and straight-foreword mockery. and there is simply nothing in the accounts given so far to suggest that the target of this humor is anything other than Native American naming practices themselves. If this is satire, it is indistinguishable from racist propoganda.

That the jokes in question may be delivered with a congenial smile doesn’t change the fact that this humor is at face value quite demeaning. Some people don’t even seem to know when they are insulting others; either that or they simply assume the right to do so without being called to account for it.

This is why the claim that The Ridiculous Six is all just satire fails. Oh yes, the movie may well be a satire, but whatever it’s satirizing, there is no reason to believe these jokes aren’t actually directed at the Native American community.

There is nothing in these jokes that suggests familiarity with their own subject matter, much less appreciation for the people close to it. This is why the costumes matter, not because the movie was meant to be historically accurate, but because knowing the difference between Apache dress and Comanche dress might have communicated at the trace of a capacity to give a damn. When such things become too much to ask, the benefit of the doubt slips out the door. And when those who raise the issue, as these extras did, are told by a producer they are being overly sensitive and they should leave, well that pretty well slams the door shut altogether. If there was any chance this humor could have reflected anything other than outright prejudice, the treatment these extras received on the set would appear to have set that prospect to rest.

…which puts the claim that no offense had been intended in this script in an awkward light. It would appear to mean little other than that Native Americans themselves are not supposed to take offense at such things. Sandler and company have produced a highly offensive script, and when called on it, they have done little other than to beg others not to see the plain point of their own jokes. In effect, they have put the responsibility for the insult on those that have called attention to it (which is an awful lot like the strategy taken by Dan Snyder and the Washington football team). in effect, they blame those they insult for knowing they have been insulted. Does that rhetoric sound familiar? It should. This is of course precisely why conservative culture warriors are beginning to weigh in. It isn’t that they don’t know the movie is offensive; the folks at Breitbart for example are defending it precisely because they know that it is.

It’s easy to dismiss Sandler himself. He has often (almost always) presented himself in a rather juvenile manner. His characters are often simpletons, and the humor they produce is accordingly full of foolishness. When this fails, as it often does, Sandler leaves behind more than a trace of disappointment in the jokes. He also leaves us with that slightly creepy feeling that we’ve seen too much of someone’s personal baggage. Still, the man is capable of outstanding humor, often using this very approach. I do recall some brilliant moments in Sandler’s career; Lunch Counter Lady and The Hanakka Song come to mind. I don’t exactly pine for new examples of his work, but I can honestly say that he has brightened my day once or twice over the years. I say this, not because I feel like defending the man at the moment, but because I think it’s important to note that he is at least capable of doing something better than this.

Unfortunately, the man is also capable of turning out utter trash. Case in point, putting a peepee in a woman’s teepee. Try as I might, I cannot find any context in which that line reflects anything but the crudest sensibilities of a petulant child. Reading about this, I can’t help thinking Sandler has gotten entirely too comfortable passing the naughtiest jokes of the playground off as professional comedy. I for one hope that he will take a lesson from his extras, and try once again to produce comedy worth watching.

***

Postscript: I noticed an interesting pattern in this video showing the conversation, the film-makers continually insist that the movie is sympathetic to the Native American characters. Why? Because Adam Sandler’s character loves them.

Speaking of Dances With Wolves…

Suffice to say the notion that respect for Native American characters rests on little other than the values of a non-Native character would be ironic at best.

Actually ‘perverse’ is more like it.

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Uncommonday Morning News – Shaka May Have a Patent-Suit Against Sitting Bull

02 Monday Dec 2013

Posted by danielwalldammit in History, Native American Themes, Uncommonday

≈ 13 Comments

Tags

American Indians, Anheuser-Busch, Cassilly Adams, Custer's Last Fight, Custer's Last Stand, George Armstrong Custer, History, Little Big Horn, Native Americans, Sioux

62300

(Click to embiggen)

This painting is one of the reasons Custer is still remembered as a hero in some quarters. To quote a fellow-blogger:

In 1884, eight years after George Armstrong Custer’s death, the Anheuser-Busch brewing company commissioned an original oil painting, Custer’s Last Fight, by Cassilly Adams.  It was reproduced as a lithograph by F. Otto Becker in 1889 and distributed as an advertising poster by Anheuser-Busch.  This depiction of the Battle Of the Little Bighorn undoubtedly hung in more saloons than any image before or since, and fixed the iconography of Custer’s last moments in the national imagination.

I am told the image represents the terrain at Little Big Horn reasonably well, though some question its depiction of the soldier’s uniforms, the lack of guns among the Sioux, and of course Custer’s heroic posture in those final moments is open to more than a little doubt. What makes this image a truly golden bit of absurdity, however, would have to be the Indian shields.

…just a little off.

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hm…

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hmmm again!

shakazulu4

Ahem!

71.271549 -156.751450

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Sometimes the Story Tells You! A Few Comments on Narrative Scope and Survey Sedatives.

22 Friday Nov 2013

Posted by danielwalldammit in Education, History

≈ 15 Comments

Tags

American Indians, College, Dakota, Native Americans, Santee, Sioux Uprising, Story-Telling, Survey Texts, The Dakota Sioux Uprising

006When people introduce a given piece of information as “something you don’t learn in the history books” or “something they don’t teach in history class” I often find myself wondering if the individual in question really has read any history books lately?

I think these are comments that just roll off the tongue while someone thinks about what they are going to say next. When I hear what they do say next, as often as not I find myself thinking; “well I teach that,” or even “Hell, that’s right in my textbook!” Sometimes I even find myself thinking; “Every teacher I’ve ever had and every textbook I’ve ever used teach that very thing you numbskull!”

Just kidding; I don’t actually use the word ‘numbskull’ in my internal monologues.

The kind of history-bashing that I am talking about almost always involves old yarns long since unraveled by the majority of historians out there. Just to provide one example, most of the myths about Columbus fall under this heading. I don’t think I’ve ever had a teacher present the classic myth of Columbus discovering America or proving the world is round, at least not without including some form of ironic commentary. I can think of numerous instances where the critique didn’t go far enough, but even my second grade teacher in a conservative lily-white community way back in the 70s made a real effort to debunk some of the standard Columbian themes. My American history textbooks don’t present the classic Columbus myths and my world history textbook even has a small section about the invention of those very myths. Yet, I still hear people preface the standard critique of Columbus with the pretense that we are about to take on the entire history profession just by listening to them.

I get a little tired of it.

***

This isn’t to say that I don’t have my own complaints about the state of the art in teaching history, and especially about textbooks. It’s a rare day that an encounter with any given survey text doesn’t leave me in tears, or at least put me to sleep, and I regard it as poetic justice that I will forever be teaching introductory classes where these instruments of torture seem to be a staple crop.

The problems that plague survey texts are generally a bit more subtle than Sunday morning historians would have it, however, and those problems are often difficult to resolve without asking students to do more than most wish to. The inaccuracies of history texts aren’t always due to fundamental misunderstanding; they often seem to be the result of narrative choices, choices often dictated by the nature of survey-text sedatives.

Case in point?

I use a reader for my Native American History class, Major Problems in American Indian History. It contains both primary documents (those produced by actual participants and witnesses in various stages of history) and interpretive essays. One of those essays in this text, “The Dakota Sioux Uprising, 1862” by Gary Clayton Anderson, presents a wonderful glimpse into the internal conflicts associated with this event. In this article Anderson takes on a terrible event in the history of Indian-white relations, one in which a number of atrocities were committed against non-native civilians, including women and children. If one were of a mind to tell such stories, this event could easily be the classic ‘Indian massacre’ that haunts the background of virtually the entire western genre in both film and literature. The uprising certainly contains enough frightful particulars to transform any narrative into a genuine nightmare. In fact Stan Hoig makes a point to suggest fears of a similar outbreak helped to explain the actions of officials in Colorado during the events prior to Sand Creek.

Note: I said prior to Sand Creek; Chivington and his men are a special kind of evil, but that’s a rant for another day.

In Anderson’s view, the uprising is a complex story in which various factions within the Dakota (otherwise known as Santee Sioux) square off against various factions of outsiders. As hunting became impossible, and rations promised by the U.S. government failed to appear, the prospect of starvation became inextricably mixed with questions about ways of living (farming versus hunting) and relations with outsiders. Some Santee had taken up farming; others wanted to resume (or take up) hunting as a primary means of subsistence. Significantly, many of those who had taken up farming had established connections (even marital relations) with local whites. So, the Santee population included a substantial ‘mixed blood’ population, and the local whites included many who had established ties to the tribe, some of which rose to the level of fictive (adoptive) kin ties.

Without going too much further down this rabbit hole (interesting as it is), Anderson does an excellent job of putting the violence of the outbreak in the context of all these factions. He argues that those perpetuating the violence were trying to pull their own community towards hunting as a way of life while punishing those whites they regarded as responsible for their own situation. Mixed bloods and whites with clear ties to Santee were generally spared (with some Santee going to great lengths to protect such people), and significant factions of the Santee pressed to end the fighting. Rivalries between those pressing the fight (which included a conflict over the question of whether to attack civilians or focus on military targets) and those seeking to end the fighting rose to the scale of potential intra-tribal warfare. Indeed, the actions of Santee opposed to the fighting helped to bring an end to the fighting.

One read through this article, and the simple narratives for this uprising go right out the window.

***

So, what do the survey texts in American History classes have to say about all this? Well let’s look at a couple of them…

I used to use a textbook called Out of Many: A History of the American People by John Mack Faragher, et. al. The third edition of this book has the following to say about these events:

Elsewhere in the West, other groups of Indians found themselves caught up in a wider war. An uprising by the Santee Sioux in Minnesota occurred in August of 1862, just as McClellan conceded defeat in the Penninsular campaign in Virginia. Alarmed whites, certain that the uprising was a Confederate plot, ignored legitimate Sioux grievances and responded in kind to Sioux ferocity. In little more than a month 500-800 white settlers and an even greater number of Sioux were killed.  Thirty-eight Indians were hanged in a mass execution in Mankado on December 26, 1862, and subsequently all Sioux were expelled from Minnesota. In 1863, U.S. Army Colonel Kit Carson invaded Navajo country in Arizona…

Let’s look at another text called Liberty, Equality, Power: A History of the American People (Concise Fifth Edition) by John M. Murrin, et.al. This book has the following to say on the subject:

The civil war set in motion a generation of Indian warfare that was more violent and widespread than anything since the 17th century. Herded onto reservations along the Minnesota River by the Treaty of Traverse des Sioux in 1851, the Santee Sioux were angry in the summer of 1862 that annuity payments did not arrive, threatening them with starvation. Young warriors began to speak openly of reclaiming ancestral hunting grounds. Then on August 17, a robbery in which five white settlers were murdered opened the floodgates. The warriors persuaded Chief Little Crow to take them on the warpath, and over the next few weeks at least 500 white Minnesotans were massacred.

Hastily mobilized militia and army units finally suppressed the uprising. A military court convicted 319 Indians of murder and atrocities and sentenced 303 of them to death. Appalled, Lincoln personally reviewed the trial transcripts and reduced the number of executions to 38, the largest act of executive clemency in American history. The government evicted the remaining Sioux from Minnesota to Dakota Territory.

My current textbook, The American Promise: A Compact History, Fourth Edition by James L. Roarke, et. al. has the following passage on the uprising:

The Indian wars in the West marked the last resistance of a Native American population devastated by disease and demoralized by the removal policy pursued by the federal government. More accurately called ‘settlers’ wars’ (since they began with ‘peaceful settlers,’ often miners, overrunning Native American land, the wars flared up again only a few years after the signing of the Fort Laramie treaty. The Dakota Sioux in Minnesota went to war in 1862. For years, under the leadership of Chief Little Crow, the Dakota, also known as the Santee, had pursued a policy of accommodation, ceding land in return for the promise of annuities. But with his people on the verge of starvation (the local Indian agent told the hungry Dakota, ‘Go and eat grass’), Little Crow reluctantly led his angry warriors in a desperate campaign against the intruders, killing more than 1,000 settlers. American troops quelled what was called the Great Sioux Uprising (also called the Santee Uprising) and marched 1,700 Sioux to Fort Snelling where 400 Indians were put on trial for murder and 38 died in the largest mass execution in American history.

Anyway, that’s three texts. I have a couple more that don’t even mention this event, which is a little disturbing.

***

So, what do we get out of all this?

Well, first, you gotta love the way one book describes the event as the largest use of executive clemency in history and another describes it as the largest mass execution in American history. There is probably an interesting lesson in fact selection there, but the most interesting thing about that little point may well be that both facts seem to be part of the same story. In one text, that is a story of great mercy, and in the other it’s a story of slaughter, and neither story is contradicted by the facts (at least not at this level of detail).

Ah well, moving on…

The first thing that I would say here is that none of these texts paints the natives in an overtly negative light. These were not written with the intention of slandering the Santee and pleading the cause of manifest destiny after the fact, so to speak. Such narratives do exist, but I didn’t find them in my stack of survey sedatives. If anything, each of these narratives seems almost painfully to be pleading the Sioux’s case and working hard to ensure the reader understand they had their reasons, so to speak.

The distortions here are a little more subtle; most of them being a function of basic story telling technique. Simply put, the question here is one of peopling the story-line. Where Anderson talks about multiple factions in and around the Santee community, each of these authors is telling a story about whites and natives. When they choose to break that down a little, we get references to ‘warriors’ and to Chief Little crow. Gone is the conflict within the tribe between pro-war and pro-peace factions, the entire existence of mixed bloods, arguments about who should and who should not be killed, and especially the active opposition of some villages to participation in the fighting. The decision to spare some whites while killing others is nowhere on the horizon here. And of course the notion that Little Crow simply led his people ‘on the warpath’ (reluctantly or otherwise) simplifies the nature of his leadership as well as the politics of the uprising itself. None of these sub-themes can be worked into the narrative (or even envisioned within it), because the characters are not even in the cast. There is simply no place for them.

So, what do I expect? Pretty much this, actually. These are survey texts, and the authors are struggling here to get a complex story into a paragraph or two. This means simplification, even oversimplification. It seems to me that in each of these cases, the author has made choices based at least partly on the larger narratives in which this story fits. Where Anderson is telling the story of a specific event, each of the survey text authors is treating this as a moment in a larger narrative about Indian-white relations in the west. They identify the participants in the Santee Sioux uprising based on the characters already filling that larger narrative.

Of course one of the central ironies here is that having put an insufficient number of players on the stage, so to speak, each of the survey authors is then at pains to make understandable the actions of the fictional Santee tribe which has become responsible for these events. Unable to assign specific actions to specific agents in the story, these authors must then work to keep us from walking away with a great big anti-Santee bottom line. But that bottom line is precisely a function of the narrative decisions they have already made. If we knew more about who was doing what and why, that impression would have no place to creep into the story, but we don’t. In the end, I suspect that anti-Santee bottom line will be the take-away for so many students, no matter how many sympathetic comments an author works into the text. In the larger story of American growth, the Santee can’t help but appear as an obstacle to that growth. You can make them sympathetic, but the only way to make them something other than an antagonist is to change the larger story altogether. Nothing done within the space of a couple paragraphs is going to work.

But a couple paragraphs are all the Santee uprising are going to get in the average textbook.

Now, just imagine that same kind of trade-off in every paragraph of virtually every page (side-bars excepted) of every history text out there. So, you see, this isn’t a problem of what is and isn’t taught; it’s a problem of how it’s taught. Many of these stories are just begging to be forgotten. You can see it in the way they are written.

Enjoy your reading kids!

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Unommonday – The Fightin’ Whities!

11 Monday Nov 2013

Posted by danielwalldammit in Native American Themes, Uncommonday

≈ 3 Comments

Tags

American Indians, Basketball, Native Americans, Sports, Sports Mascots, The Fighting Whites, The Fighting Whities, University of Northern Colorado

fightinwhitesSince sports mascots are on the public mind once again, I thought it might be a good time to post my all-time favorite team. Mind you, I don’t follow sports. When people talk about sports, to me it sounds a lot like the adults in a Peanuts cartoon. When a game is on the tube, I just see a blue screen. And I must say that I have never seen these guys play, nor do I know anything about their record. I just know the name of the mascot for an intramural basketball team at the University of Northern Colorado: It’s ‘The Fightin’ Whites’, or the ‘fightin’ whities’ as they were more popularly known. Their motto was “Every thang’s gonna be all white.” And just in case the ironic tone isn’t clear, let me point out that the school used sales of team merchandise to fund an excellent scholarship program for Native American Students.

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Time Heals All Wounds …Unless it Doesn’t

10 Monday Jun 2013

Posted by danielwalldammit in History, Narrative VIolence, Native American Themes

≈ 40 Comments

Tags

Accidental Racist, American Indians, History, Holocaust, Memory, Native Americans, The Long Walk, Time, Tragedy

http://www.newmexicohistory.org/filedetails.php?fileID=494

http://www.newmexicohistory.org

A career in Native American studies makes you the grammatical equivalent of a time machine. No sooner do people learn where you work, what you study, or what specific things you happen to be working on than they suddenly switch to past tense. Often this will be accompanied by sad tones and slightly downcast eyes. Seriously, I’ve lost track of the number of times a few comments from me have led people to great moments of reflection about “what we have done to them.”

These moments of introspective time-travel usually leave me with a bit of motion sickness. See, the thing is that people go back to the past like this when I am actually talking about perfectly contemporary issues. When I worked on the Navajo Nation, simply telling folks what I do for a living was often enough to send their souls searching through history for resolution of collective sins, real or imagined. In most cases I don’t think folks had any real sense of the specifics in question, no real idea of just what Anglos had done to Navajos, for example. In most cases, I suspect the sudden trip to the past tense was filled with thoughts of generic cowboys and even more generic Indians, …who probably looked more like Lakota than Navajos anyway. In any event, the problem is simple enough; for far too many people Native Americans simply belong in the past.

…and yes, I do wonder just how often Native Americans get this? Perhaps it’s a white thing after all. I don’t remember getting this effect in the presence of natives, just when it’s me talking to my own, so to speak.

Anyway, I figure it makes it a Hell of a lot easier to be sorry about something if it happened a few generations back. Try to talk to people about issues such as uranium poisoning, forced relocation, or any number of contemporary issues, and they are less certain that what ‘we’ are doing to ‘them’ isn’t somehow justified, or at least necessary, or at least.

But folks are happy to talk about Custer.

Wasn’t he a bastard!?!

Rarely do I get the sense that this sort of time warp is meant to provide historical perspective; often it strikes me as just one more way of changing the subject.

Of course somber regrets for crimes long forgotten are only the nice-guy half of this coin. Flip the quarter over and you get a range of narratives effectively using time to disclaim responsibility for these same crimes, perhaps even a comment to the effect that it’s best for Native Americans to put the past behind them. Occasionally people will actually tell me that reservations or casinos, etc. are attempts to pay for what ‘our ancestors’ did, and of course the point is always to suggest that such concessions are unfair to the rest of us here in the present.

And no, this time-to-forget theme is not limited to Native Americans. One has only to suffer his way through “The Accidental Racist” to hear Brad Paisley play precisely this shell game with history. I don’t have the stomach to parse the details of this terrible tune, but let’s just say that Brad is apparently paying for the mistakes of a southern past, and L.L. Cool Jay is happy to let bygones be bygones.

…Seriously, both of them should have known better.

It’s funny those who support the rebel flag are always prepared to discuss its significance in the civil war. Rarely do they want to comment on its use in opposition to the civil rights movement.  History textbooks probably don’t make this much easier, telling us that slavery ended with the close of the civil war. Sure they note the existence of debt peonage and Jim Crow Laws, etc., but that is a more complex story. The morality tale for most people ends at Appomattox. I suspect it is the story of slavery that many will imagine when they ask why African-Americans have trouble putting the past behind them. The notion that some folks can still remember when there was real danger in looking a white person in the eye just seems to escape a lot of people.

…most of them white.

But what’s past isn’t equally past for all people. I learned this very clearly out in Navajo country. The nadir or their historical narratives begins with the story of the Long Walk. In 1864 Kit Carson burned marched through Navajo country, burned their crops and destroyed their homes. He then waited for winter to bring them to him.

It worked.

The result was 4 years of internment at a place called Fort Sumner in Southeastern New Mexico. Many of those who started the “Long Walk” to Fort Sumner didn’t make it to the end.

When my friends, students, and coworkers told me their stories about the long walk, what struck me most about their narratives was the way they always began.  They almost always began with a clear reference to some family member. These weren’t simply stories about something that happened to their ancestors; they were stories about the death of a Great Aunt or the trials of a Great Great Grandmother. People telling me these stories consistently anchored narratives of the long walk in their own relationship to one of those who had been through it. These were not stories about an event over a hundred years ago; they were intensely personal stories of family tragedy.

I’ve heard similar stories, …from my high school history teacher, for example. A native of Georgia, her account of Sherman’s march included a great grandmother’s efforts to save a family heirloom (she stuck it on a wall in the hopes Union troops wouldn’t notice). When I taught briefly at a Jewish private school in Houston, I heard such stories from survivors of the Holocaust. More importantly, my students heard those stories. They hear them every year, directly from the survivors, and in countless other contexts throughout the year. I’ve heard such tragic narratives from Inupiat speaking about the horrors of influenza epidemics brought by whalers and the trials of the boarding schools. Exposure to virgin soil epidemics is hardly ancient history on the North slope, and most any native can tell you about some elder who was punished for speaking her own language at the schools. What all these narratives have in common isn’t simply tragedy; it’s direct personal connection to the suffering.

Of course, the suffering in some of those stories is greater than that in others.

People don’t just forget these sorts of events. They keep them alive; they keep them personal. The suffering becomes part of the meaning of history, and part of the personal identity of those that have been through it, of their children, and their children’s children.

Whether or not such stories should be kept alive in that way is a whole other question, and a rather ironic one at that. The suggestion that people subjected to injustice ought somehow to simply move on has more than a trace of might-makes-right in it. It is an attempt to suggest that certain horrors are simply an accomplished fact, as are the long-term consequences of those horrors; land lost, buildings and nations built for the benefit of someone else, and whole scores of missing family – aunts and uncles not present and cousins never born, all of it, so the argument goes is just a done deal. Yet some people say that it would be best to just move on; accept all of this and focus on the future.

Best for whom?

Your land is ours now, but let’s not dwell on how that happened. Your grandmother’s language is gone now, but let’s not think too much about that. Cities wrecked? Whole populations wiped out? What’s past is past, so some say; let’s look to the future.

But if the long-term consequences of such atrocities might be thought an accomplished fact, then so are the bitter narratives.

…and the bitterness itself.

It seems those with such tragedy in their past rarely (if ever) take such advice. They remember! They remember with a passion. Here we have at least a trace of poetic justice. It seems to me quite fitting that those hoping the descendants of tragedy would accept the consequences and simply move on should run square up against one other uncomfortable and very stubborn fact, namely that folks just don’t forget such things.

They really don’t.

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