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Adam and Eve and the Sewing Needle

29 Sunday Mar 2015

Posted by danielwalldammit in Movies, Native American Themes

≈ 1 Comment

Tags

Adam and Eve, Arctic, Before Tomorrow, Eskimo, Movies, Ray Mala, Savage Innocents, Sin, Trade

p194794_p_v7_aaY’all know the story. The Serpent tempts Eve with an apple, and she in turn tempts Adam with the same. …Okay, some say it’s more likely to be a pomegranate. That’s not the point! In arctic cinema, the temptation is more likely to be a knife or a gun.

…or a sewing needle.

The analogy isn’t perfect, but with Eskimo populations, cinematic stories of a tragic fall from grace certainly do seem to start with the temptations of trade. Much as the fruit of a certain Biblical tree, these trade goods come with a cost, and with a sudden awareness of things that might best be left out of the world altogether. And just as with the story of Adam and Eve, it seems sex is very much at play in these stories.

The movie Before Tomorrow (2009) begins with a story about the Raven, which is certainly a more fitting motif than Genesis for use in an Inuit production, but its implications are no less ominous. This narrative ends badly, as does that of the movie itself. We are then treated to a joyous reunion between friends and family, one of whom carries a brand new knife made of strange materials. It’s extraordinarily sharp and very sturdy. The same guest soon produces an extraordinary set of sewing needles, along with a story of the strangers from whom these items had been obtained. Everyone laughs and marvels at the wonderful goods.

Sadly, it wasn’t simply trade goods these this fellow and his family picked up from the strangers, and the laughter of these opening scenes will lead us only to tears.

…many tears.

But I left out an interesting detail. You see the needles had to be obtained through sex, one night with a young woman for each needle. That was the price, so we are told. This too is cause for laughter and bawdy humor in that happy moment when the characters in Before Tomorrow can still laugh at the whole story and count the encounter with strangers as a blessing of sorts.

Before Tomorrow is an indigenous production. It handles this theme with grace and sensitivity, but of course the scene echoes others that have come before. Few things about the arctic seem to interest movie makers more than Eskimo sexuality, or more particularly those practices giving rise to phrases like ‘Eskimo hospitality’ or ‘Eskimo Brother’. Aware that arctic natives engage in something akin to wife sharing, a number of film-makers have given this theme a prominent place in several productions. The treatment is almost always short on ethnographic detail and long on prurient interests. White Dawn is perhaps the most indulgent of these films, but the theme has a long-standing presence in the history of arctic film. It is commonly bound to the topic of trade.

…and to narratives of the fall.

(Speaking of terrible things, I must warn you that spoilers are coming.)

220px-The_Savage_InnocentsIn the year, 1960 (when Anthony Quinn was an Eskimo), his great source of temptation was a gun. I say he was an ‘Eskimo’, because it really wouldn’t be appropriate to saddle any specific people with the cultural baggage of Savage Innocents. a pseudo-documentary narrator notwithstanding, this film is not about any real-world population so much as a certain imaginary people best called to mind by precisely this grotesque term. Like so many films about natives of the Arctic, Savage Innocents really isn’t a film about Inupiaq, Inuit, Yupik, or even Chupik. It is most certainly a film about Eskimos, and that is a topic that has interested movie-makers long before the general public learned to think twice about such vocabulary. Anyway, when Anthony Quinn was an Eskimo, it was his introduction to the gun that kicked off a crises (and hence the story) of Savage Innocents.

For all its crudeness, Savage Innocents does throw a curve ball into my analogy here. Inuk (Quinn) is the one who first falls for this great temptation. Upon learning that white men will trade a gun for a hundred fox furs, he immediately sets about getting one. His wife, Asiak (played by Yoko Tani), will have none of it. She ends up giving away the gun, because she doesn’t want to live on fox meat while Inuk tries to put together enough furs for the bullets to fire it.

That’s a damned sensible Eve if you ask me!

Too bad Asiak is too late in her efforts to get free of the white man’s influence. A visit from a priest goes rather poorly when he refuses the food she and Inuk offer. It goes even more poorly when Inuk and Asiak offer to let the man ‘laugh’ with her (yes that’s an innuendo). When the Priest denounces the offer in the harshest of terms, a foul-tempered Inuk accidentally kills him. (h meant to crack the man’s head a little, inuk will later explain, but the man’s head “cracked a lot.” Legal troubles will soon follow in the form of Peter O’Toole who plays a trooper sent to catch Inuk and bring him back for punishment.

In savage Innocents, it is the gun which gets the action rolling, but it is sex that provides the tragic turn. It’s an interesting variation on a theme, and of course the movie’s title helps to underscore its relevance to stories of the Fall. Inuk and his wife are savages, yes, but they are also innocent (one might even say ‘noble’). Their encounters with the white world bring little other than the threat of guilt. It is the wisdom of this particular Eve that saves them.

But of course all of these plot developments emulate those of the far more famous film, Eskimo, starring Ray Mala. As in Before Tomorrow and Savage Innocents, visitors bring the temptation to our main characters in the form of trade goods acquired from strangers. A sharp knife is the first temptation to make an appearance in this film, followed shortly thereafter by iron sewing needles, and then a gun. Mala and his family are suitably impressed.

220px-Eskimo-FilmPosterMala’s wife, Aba (played by Lotus Long) asks a woman in possession of the sewing needles if she had received them from a ship’s Captain. No, her guest answers; “I was only able to please the man who did the cooking.”

And thus we learn the price that will be paid for these goods. Mala will of course trade many furs for his gun, but he will also have to share his wife with the strangers. Far from accepting this arrangement as the normal course of things, Mala is outraged that the strangers have taken liberties without asking for permission. this is not the sort of spousal sharing that occurs in his own village; it is violation carried out by men with no respect for either Mala or his wife, Aba.

But of course, it gets worse.

What interests me most about this, howeever, is not the he terrible consequences of trade with outsiders; it is the moment of temptation. In Eskimo that temptation plays out much as it does in Genesis. It is Aba who asks Mala to go trade with the strangers.

The white men have iron needles-

One could be even a greater hunter with a gun.

Like Eve tempting Adam with an Apple pomegranate, she urges Mala to begin the quest that will end their simple, happy existence. “The white men have black hearts,” so an elder warns the both of them, and yet Mala agrees to the trip. they will go, he explains, after the long winter night has ended. Aba will herself pay the highest price of the two for this decision, but that too seems rather appropriate for stories of the fall. When such stories approach the status of mythic narratives, at least in the western traditions, women always seem to fall harder than men. Perhaps that is why they are so often portrayed as the ones most responsible for that very fall.

Why we seem to keep telling such stories is another question altogether.

Of course, the story of Adam and Eve is hardly a narrative indigenous to the arctic, but then again, only one of the three stories listed above is an indigenous production. One can almost see the story of Adam and Eve pulling on the the tragic tale in Savage Innocents and Eskimo, even as each movie grapples to one degree or another with the sensibilities of the people it depicts. And yet elements of this trope overlay nicely (though not precisely) with those of Before Tomorrow. In each case, trade with outsiders would seem to constitute the original sin, and in each case sex would appear to be part of the picture.

Sex, occupies a more tempered role in Before Tomorrow than it does in either of the mainstream productions. It’s characters relate the terms of exchange (sex for needles) in matter of fact tones. They laugh yes, but they are not shocked. Perhaps we as the audience are meant to grasp the exploitive nature of the strangers approach to trade, but in Before Tomorrow that is of little consequence. In both Eskimo and Savage Innocents, it is sex itself (or the prospect of it) that triggers the coming hardship. It does so through conscious decisions of the parties involved. In Before Tomorrow, it is something far more subtle, an exchange understood by no-one present in those opening scenes.

It isn’t hard to see a trace of tragedy in the globalization of the Arctic. So, I suppose it should also come as no surprise the onset of trade would provide a ready subject matter for epic narratives about loss of innocence. These stories carry different inflections, but they also carry a few common themes.

…such as , “beware of strangers with really cool sewing needles.”

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What are the Necessities of Life?

20 Saturday Dec 2014

Posted by danielwalldammit in Movies, Native American Themes

≈ 4 Comments

Tags

Canada, Eskimo, Film, Foraging, History, Inuit, Movies, Progress, The Necessities of Life

The_Necessities_of_LifeWhat are the Necessities of Life?

We meet the protagonist of this 2008 Canadian film in Baffin Island of the 1950s. Tiivii (played by Natar Ungalaaq) struggles for breath as he ascends a small hill in search of geese, his wife and children are just waking in their tent below. Upon seeing a boat on the half-frozen ocean, Tiivii sets aside the hunt and takes his family aboard for a series of medical tests. As the boat prepares to leave, Tiivii is told he must remain aboard, leaving his wife and children to fend for themselves while he undergoes treatment for tuberculosis.

When next we see Tiivii, he is soon staring at a tree at the hospital in Quebec City, amazed at his new surroundings and quite unprepared for the coming hardships that await him. He does not fully understand his illness, nor does he realize how long it will take him to recover. He also has no idea how his family will fair without him.

An Inuit lost in civilizations? It’s an interesting twist on a familiar theme, that of a stranger in a strange land. The point is soon driven home as we see Tiivii struggle to master the use of a fork and spoon while the other hospital patients consume platefuls of pasta. He figures it out, but not before earning the derision of his roommates.

Through the story, we are invited to see the hospital and western civilization through Tiivii’s eyes, to see common utensils from the perspective of one who has never used them before and to imagine a common meal from the standpoint of someone has never eaten anything like it. We can also imagine his confusion at the sterile bathroom with its flush toilet; his longing for someone to talk to makes perfect sense; as does his desire to eat familiar food.

the-necessities-of-lifeWe’ve seen this storyline before, a person completely out of his element. It is often used to explore the differences between civilization and savagery. This was the premise for Dances With Wolves, and before that with Little Big-Man and A Man Called Horse. It’s a common enough theme in arctic films as well, being found in White Dawn and Snow Walker among others. What makes this film different is the trajectory of the stranger in this case; he has left a world unfamiliar to most of us, to enter one most of us will find rather familiar. We are used to seeing the story go the other way. Still Tiivii’s journey is compelling. Through his eyes, the western world becomes strange, unreasonable, and quite insane.

This particular twist on the stranger in a strange land contains an element of nuance, however, that would be easy to miss. Audiences may think they know what it means for an emissary of modern western society to live amongst primitives, but what does it mean for such an individual to come live amongst us, or at least the 1950s variation thereof? It would be easy to think that Tiivii spends the entire story marveling at the wealth and richness of the city. In the space of a few opening scenes he has made a transition from the life of a forager scratching out a meager existence on the tundra to a cosmopolitan center with all the wonders of contemporary society. Tiivii may see this world from the shelter of a hospital bed, but he does see it just the same. How could he possibly understand the complexities which have put food on his plate in that hospital, or those that enable him to flush that same food away in the porcelain toilet? It would be awfully easy to think of this as the story of a simple man lost in the wealth of the modern world
…except that would not explain the title of the movie.

necThe title comes to us in a scene near the end of the film, one in which Tiivii explains to a young patient named Kaki (Paul-André Brasseur) what it is like to be out on the tundra. Although Inuit himself, Kaki, has spent his formative years in the hospitals. He does not understand the kind of life his own people have led. Asked what his homeland is like, Tiivii explains:

Beautiful. Lots of mountains. From the top you can see everything. You can see exactly where you are going. Not like here, where there are trees everywhere and you can’t see ahead. There’s a huge island. It takes many days to travel around it. There’s everything you need, all the necessities of life. Seals. Caribou. Geese.

Tiivii’s face lights up with each point of his speech, but the point of the scene would be missed entirely if this was thought to be nostalgia. Tiivii’s speech provides the strongest hint in the movie as to just how he sees the world around him. It is not a world of abundance at all; it is one in which he cannot see the materials out of which to make his clothes much to less to build a home. It is a world in which he cannot see food or medicine. All of these things must be brought to him. If this is mysterious, it is not the mystery of a miracle so much as a perverse trickery, one which hides the means of life from him while doling out the necessities a little at a time. Far from marveling at the wealth of civilization, Tiivii has been lost in the desert the whole time. He doesn’t see modern miracles in plumbing or cutlery. Instead he sees a world of mostly useless materials.

I think this is the real genius of Necessities of Life, that it actually flies in the face of conventional notions of the difference between foragers and civilized folks. Ever since Nanook of the North, mainstream film-makers have marveled at the struggle of arctic hunters against hunger and the elements. Time and again, Hollywood’s ‘Eskimos’ have been portrayed as dwelling on the edge of starvation, and it would be awfully easy to see in Tiivii’s story just another chapter in that narrative, one in which one of these primitives actually gets to experience the wealth of modernity. And yet, what Tiivii actually tells us is just the opposite; wealth is waiting for him back home on Baffin Island, and he cannot wait to leave the extreme poverty of the modern world behind.

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Spring Break Up and a Video: No, Not that Kind!

09 Saturday Jun 2012

Posted by danielwalldammit in Alaska, Bad Photography

≈ 33 Comments

Tags

Alaska, Arctic, Eskimo, Ice, Inupiat, Nalukataq, Ocean, Photography, Photos, Sea

Last June I used to walk down by the beach nearly every day. It was fascinating to see the ocean slowly turning back into liquid. Since I’m in Vegas at the moment, I can only imagine what’s happening now.

…or live vicariously through last year’s photos.

But first some happy music!

Now, if you click on the pics, they will embiggen!

Actually this is July of 2010
July, 2010 again! (And it was the size of a small coffee table).
5/28/11

5/28/11
6/6/11
6/11/11

6/11/11
6/18/11
6/20/11

6/20/11
6/25/11
6/25/11

6/25/11
6/26/11
6/26/11

6/30/11
Early July, 2011
Early July, 2011

Now, since I am also missing the Nalukataq, the Spring Whaling Festival later this month, A Quick Video!

I know. Fire the cameraman!

Anyway, that is Barrow, AK, at this time of year.

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Ten Little White Indians, Volume II (Spoilers Abound!)

21 Saturday Apr 2012

Posted by danielwalldammit in Movies, Native American Themes, White Indians

≈ 9 Comments

Tags

A Man Called Horse, Eskimo, Grey Owl, Hollywood, Indian, Innuit, Native American, Richard Harris, Stereotypes, White Dawn

It is time for another trip through the world of the white Indian. In today’s installment we will meet three very different white Indians with three very different stories and three very different fates.

A Man Called Horse

Let us begin this installment with the quintessential white Indian of the 1970s. In A MAN CALLED HORSE (1970), Richard Harris plays an Englishman named John Morgan. Captured by a Sioux-speaking tribe known as the Yellow Hand, he is humiliated and used as a horse (hence the name). But Morgan proves himself an able warrior, and quickly gains the respect of his captors. More than that, he becomes a war chief, leading them to victory against the Shoshone.

The movie seems to take its portrayal of Native American culture quite seriously, perhaps a little too seriously. The film wants desperately to show us how things really were, but its portrayal is far too filled with sensationalism to provide any real insight into anything Native American customs. In fact, of all the white Indians of movie history, this one seems to irk people the most.

Initiation

In the most striking scene of the movie, Morgan is initiated into the Yellow Hand by means of a sun-vow. His chest is pierced, talons are fastened to the wounds, and he is suspended from the top of a Medicine Lodge. Upon waking, Morgan will soon make-love to the daughter of the chief (thus playing out yet another cliché – Pocahontas anybody?).

Loosely based on a Mandan variant of the Sun Dance ceremony, this scene was sufficiently close to home that many found its portrayal on the big screen quite offensive. In A man Called Horse, the logic of the ritual does less to tell us about the lives of the people with whom Morgan is living than it does to signal his great triumph, his transition from a mere beast of burden to a full member of the community (…one who is eligible to make love to the beautiful Indian princess. …yes, I said ‘princess,’ …and yes, I know how ridiculous that is.)

But wait!

Seriously, wait!

Return of a Man Called Horse

We must also account for THE RETURN OF A MAN CALLED HORSE (1976). Yes, that’s right. This movie has a sequel (two of them in fact, but I will spare you an account of the third; it isn’t even interesting in a disgusting way). In The Return of a Man Called Horse we find Morgan back at home in England, …and hating it. Surrounded by artifacts of his time among the Sioux, Morgan longs to rejoin the Yellow Hand.

When Morgan does return to his adopted people, he quickly discovers that they have fallen on hard times. Under attack from white trappers with Indian allies of their own, the Yellow hand are in sore need of great leadership. Luckily, Morgan is there to aid them. With their very own great white Indian now back among them, Morgan’s friends now find their courage. Naturally, the revival begins with a sun dance.

I have to confess that when I first saw these movies I enjoyed them a great deal. Mind you, I was a teenager. It took a few years before the arrogance of the message sunk in. Unable to fend for themselves, the Yellow Hand must have a white man come and rally them to perform one of the most sacred of their own ceremonies. That’s right; in this movie Lakota need a white guy to perform their own sacred rituals. I would say that it gets worse from there, but ‘pathetic’ is probably a better word for it.

***

Grey Owl

Back when I was teaching in Navajo country, one of my classes swore up and down that GREY OWL (1998) was a good movie. I went to a video store (yes kids, that’s how we used to do it) and looked at this, and looked at it some more, and …just couldn’t bring myself to do it. I mean Pierce Brosnan as an Indian? I just could not wrap my mind around it. But my dear reader, I realized as soon as I started this blog series that I would have to venture onto that dangerous terrain. And last night, I finally watched this movie.

Just for you.

Okay, it wasn’t as bad as I thought it would be. I really should have trusted my students. It was at least entertaining. I must give it that much.

This movie is about a real historical personage, Archie Grey Owl (1888-1938). When we first meet him, Grey Owl is entertaining tourists with Indian dances and serving as a hunting guide in the Canadian wilderness. His skills in trapping and hunting are unmatched, and his presentation of Indian customs comes across as both authentic and entertaining.

The Real Grey Owl

When Archie falls for a young Mohawk woman named Pony, his life begins to change dramatically. He gives up trapping after she adopts two beaver orphaned by his own traps and the tough old trapper finds himself unable to resist their charms. Facing ruin, Archie opts to write a book about the forests and the need for conservation. This becomes the first of many publications and speaking engagements. All seems to be going well.

…except that Grey Owl seems a little testy at times. He is nervous when told that newspaper reporters are looking  to write stories about him, and inconsistencies begin to creep into his story. Why does he dye his hair? And was it his father that was Scottish and his mother Apache, or was it the reverse? Pressed on details, he becomes angry. No-one questions his adoption by a local Ojibwa community, but it becomes increasingly clear that something is wrong when Grey Owl reluctantly sets out for a 3 month tour of England. It is the chance of a lifetime. Why the hesitation?

We soon learn the answer.

While in England, amidst all the hoopla of a speaking tour which includes a performance for the King, Archie Grey Owl takes a small side-trip to a residential neighborhood he seems to know well. It turns out that he is actually Archibald Belaney, an Englishman himself. …a full-blooded Englishman, as it were, with no Apache relatives at all. Archie has a tense but pleasant meeting with the two aunts that raised him and takes a quick look in his old room where it immediately becomes apparent that his love of all things Indian had been well established as a young child.

When Archie returns home, he is invited to a great powwow where he is asked to meet with a gathering of chiefs. Only then does he confess his origins to Pony. Naturally, she forgives him.

Which leaves the gathering of chiefs…

Unable to back out of meeting them, Grey Owl enters the gathering of chiefs to a rather awkward and tense moment. Can he fool them? Well it turns out the answer is ‘no’. Everybody in the whole lodge laughs at Grey Owl’s deception. But all is not lost, and a Sioux chief finally explains; “Men become what they dream. You have dreamed well.”

And so the white Indian of this story receives the ultimate stamp of native approval. Even his fraudulence is blessed by the old Sioux chief.

***

White dawn

And then of course there are white Eskimos, even black ones. WHITE DAWN (1974) begins with a maritime disaster leaving a whaling crew stranded on the ice flows off Eastern Canada. Three survivors (Louis Gosset Jr. as ‘Portagee’, Timothy Bottoms as ‘Daggett’, and Warren Oates as ‘Billy’) will eventually be rescued by Inuit who take them in, nurture them, feed them, and accept them as part of the community.

One might expect people in such a position to show gratitude. Well they don’t, at least not all of them. Billy (Warrent Oates) is particularly contemptuous of his benefactors, insulting and exploiting them at every opportunity. Daggett (Timothy Bottoms) appears to accept his new community. In time, he has essentially gone native, or at least he tries to. If there is a definite white Indian in his story, it is Daggett. Portagee (Louis Gossett Jr.) seems content to follow the path of least resistance, and given Billy’s aggressiveness, that means Portagee will often serve as an accomplice in destructive activities. Daggett may mean well, but he simply does not put up enough of a fight to reign in his companions.

The generosity of the Inuit people plays a key role in this movie. Not only do the Inuit share their food and lodging with these desperate strangers, the men also share their wives. This allusion to yet another cliché (“Eskimo hospitality”) receives a lot of screen time in the movie. I would hardly suggest that the movie portrays the actual customs of spousal exchange accurately (it doesn’t), but for purposes of plot development it is perhaps more important to note that the three castaways misinterpret the custom as it is understood by the Inuit characters of the movie.

A Little Wrestling Match

The Inuit men of this movie share their wives as a gesture of hospitality; they do not mean to give their wives up. In time, Billy and Portagee come to see the women as theirs for the taking. For his own part, Daggett falls in love with a beautiful young wife of community elder (yes, there is that Pocahontas theme again). As the story unfolds, each of the three men becomes more presumptuous in their approach to the women of the community.

And I suppose I should say here that the movie does very little to shed any light on the motives of the women themselves for having sex with any of thee men. Daggett’s love interest appears responsive. The women are otherwise little more than pawns in a game that takes little notice of their own preferences.

Billy is the driving force for much of the movie’s action, initiating one after another disruptive scheme. He is greedy, malicious, and completely unprincipled. Most importantly, Billy convinces both Daggett and Portagee to steal the community stores of fish and set sail in a small native boat. When this attempt to get home ends in yet another crash, the Inuit will once again come to the rescue. And all three must now live with the community made hungry by their theft of food supplies.

When Billy’s shenanigans finally result in the accidental death of a young woman, the community takes action. Tricked into accepting mittens with no thumbs from the remaining young women of the village, Billy and Portagee are unable to defend themselves when attacked by the men of the village. There is a moment when it seems that Daggett will be spared, but that ends abruptly with an arrow to the belly.

And of course it is the death of Daggett which is most interesting here. He is the white Indian of the bunch. …or the white Eskimo as the case may be. It would be easy to think the Inuit had killed him unnecessarily. After all, he was a decent guy. Absent Billy and Portagee, one cannot help but to hope that Daggett would immerse himself in the community and live as they do. Who knows? perhaps he would even get the girl!

White Dawn

But of course that girl is why Daggett must die. Where Billy and Portagee use the Inuit women in the cheapest sense of the word, Daggett has claimed the love of another man’s wife. For all its sincerity, Daggett’s presumption reaches a scale well beyond that of his companions. He wants to keep the girl, but of course she is not his for the taking.

And thus ends the white Indian of White Dawn!

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